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Podcasting For Biz: Telling The Story Kathy Gill 22 April 2008 How Audio Differs From Print • Don't tell. Show. – Concrete language – Evocative language – Effective use sound (don't say it's noisy, provide background sound) – Active tense – Edit, edit, edit! Tips For Good Story • Listen! – That's why I've asked you to subscribe to podcasts this quarter! – Close your eyes right now -- what do you hear? • Be Authentic. – If you don't care, why should we? – No "gotchas" (don't edit to change meaning – Use sounds from the site, not from somewhere else -that is, don't put train whistle in the background if there was no train Chasing Fire In The Amazon • NPR reporter Christopher Joyce on fires in the Amazon – Story told in three separate forms: traditional NPR radio story … still photos with captions … text for the web – http://www.npr.org/templates/story/story.php?s toryId=16182652 Why Use Sound? • Interviews capture voices • Ambient sound can establish mood or provide a sense of place • Sound effects can focus attention • Music can signal transition or establish mood • Voiceover – the narration – weaves the elements of a story together What Stories Lend Themselves? • Almost any story! • Well, court cases, stock movement, IPOs … these may be more difficult … unless you’re preparing a background piece Before You Begin • What is the story and why do you need sound? • How long should it be? • Develop open-ended questions • Encourage stories, anecdotes Recording Plan • Before you head for the interview or event, brainstorm possible sounds to record at the primary location as well as any secondary ones – Prioritize them! • Always record “white noise” Sounds & Interviews • The location of the interview becomes more important than with a print story • Restaurant feature – Interview in the kitchen? – Interview where customers are seated? – Interview in an office? – All have different ambient sounds • Ask open-ended questions … and NOD (don’t “ummm” over their voices!) Ambient or Natural Sound • General sound that fills the background of the primary recorded sounds (cite) • Ambient sound can set mood – “Background” noise like conversation in a coffee shop • It can also provide context – Espresso machine, construction site noises • Be sure to record a minute or two of background “silence” as well Sound Effects • Artificial sound, such as thunder or an explosion, which is usually “artificial” – An effect that imitates a sound in a play, video or audio recording Be Flexible • If your primary source isn’t very talkative … or is hard to understand … then this material may become part of your voiceover • Ask for suggestions for others to interview About Music • Use with purpose • More often associated with bookending episodic features • Copyright! When You Forget • Is it ethical to grab background sound from a service or from some other restaurant? Getting Good Quotes • You’ll need full sentences for an audio quote (usually) … where a phrase would work for print story • Say ‘tell me more about that’ or consider asking to repeat answer in full sentence • Ask questions that elicit word pictures! Gear: The Mike (Form) • Lavaliere microphones are clipped to clothing, close to mouth, and are unobtrusive • “Opposite” of the image we have of microphones • All can be wired or wireless Gear: The Mike (Sound) • Omni-directional mikes pick up sound from all directions • Cardioid (dynamic) mikes pick up sound only from one direction: where they’re pointed • Super-Cardioid mikes are used when a specific sound is needed in a noisy environment Gear: The Recorder • MiniDiscs and DAT recorders – Hold high quality digital audio (DAT = digital audio tape) • Direct To Disc – Save on flash memory; sometimes proprietary format; audio may not be as high in quality • In a pinch: your cellphone! Gear: What Else? • Cables for every mike connected to the recorder • Headphones to check recording levels • Batteries! • Media • Notebook & pen – Notes may help you find key quotes more quickly • A bag to hold it all Recording Tips • “Ps” and “Ss” – Avoid having mike directly in front of the source’s (or your own!) mouth • Getting The Right Sound – Arrive early; close your eyes and listen; ID the sounds you hear – now record them! How do they help you tell your story? Production Process • • • • • Creating The Log Paper Edit Scripting Narration Edit & Mix Creating The Log • Create a rough transcript for each interview; mark times (min/sec) • It’s the fastest way. Really. Paper Edit • Start assembling the story from the log file – Copy & paste favorite clips (actualities, in radio parlance) into the document • Try to keep them short-ish (10-30 seconds) • How many? Depends upon how long the story is and the style of the show Scripting • Write your lede • Arrange the quotes • Develop your transitions – Should not repeat what’s in the interview – Here’s where you may add sounds you have recorded • Write your conclusion • Conversational, Conversational, Conversational! • Balance clips, voiceover, sound Narration • Voiceover can be “over” ambient sound or “in the clear” • Practice • Drink Water • Remember mike placement • Long pauses when you mess up … to make it easier to edit out Resources • Sound In The Story - Poynter (pdf) • If you need sound files to practice editing your proof of concept personal podcast – I have some from Poynter