TOPIC: Getting the information you need via interview, and a practice session vox popping on campus.
An interview is a conversation with a source who has important information.
Remember two things:
- It’s a really common form of self-doubt.
At some point, most of us have thought something along the lines of “am I even any good at this?”… particularly when we’ve gotten over the novelty of making media, but are still building our skill base. It’s totally, utterly normal.
- It’s a process.
Each time you make something, you learn. Make each thing better than the last. Keep practicing, keep making stuff, keep at it, and you will get better.
Re-watch this video whenever you need the reminder ❤
BY PHIL MOORE
On location what you’re mostly going for is clean, consistent dialogue. Ideally every actor is recorded at the same level, with the same tonal quality and presence, and with no unwanted background noise. First step is to listen to the location. There are two kinds of noise you have to be constantly on the alert for:
1. Constant low-level background noise like air conditioners, fridges or other machinery. Turn these off if you can, though often in a commercial location that’s not possible. If you have to live with it, then try to ensure it always sounds the same no matter which direction the mic is pointed. And be sure to get a ‘wild’ recording of the background noise on its own, which the sound designer can then use to smooth things out in post.
2. The other type of noise is the intermittent, irregular kind. Background music, busy roads, flight paths, noisy dogs or birds, and so on. Most of which you can’t control. Murphy’s Law ensures these noises will happen right when you least want them to. During a take and right on an actor’s most crucial lines of dialogue. Ensure the mic is aimed to get the best dialogue while rejecting any possible unwanted sounds (ie: at the beach face away from the crashing waves). Also during each take listen carefully for when a noise occurs. If it isn’t right on a line of dialogue it can be replaced with atmos in the sound design later.
Australians are among the world’s most enthusiastic makers, streamers, and downloaders of audio content, according to this feature in the SMH.
The best audio stories are scripted, and if they contain an interview, the questions are researched and written out beforehand.
Immerse, script, and record – an example by Nick Bennett:
This simple story script contains intro, outro, scene-setting narration, and questions for people involved in the story, which is about a sculpture exhibition in the Blue Mountains. Watch the video first:
INTRO: Nick Bennett on the rainforest floor just below Scenic World in the Jamieson Valley, Katoomba. I’ve descended the world’s steepest incline – about 200 meters – in search of art treasure.
Exhibition Manager, Lizzy Marshall, good morning.
- What’s so grand about this location?
- What inspired an exhibition in the rainforest?
- What pieces really stand out to you?
- What materials have the sculptors used?
Like Bondi’s Sculptures by the Sea, I’m surrounded by sculptures in the Inland Sea.
- Are there any local artisans involved? (Terrance Plowright, Miles Davis…)
- What plans do you have for its future?
- How many visitors do you expect to have through?
OUTRO: Scenic World’s Rainforest Sculpture exhibition is on until March 11. I’m Nick Bennett – out & about for the Big Blue Breakfast on 900 2LT.
Links for CC-licensed music and sound effects.
Beyond your phone: Recommended podcasting equipment list.
Transom.org – The best site on the planet relating to audio and podcasting work.
Homework task for next week: