The BBC News Editors blog has an interesting post from Nazes Afroz, regional executive editor for Asia & Pacific at the World Service, explaining how the BBC has been covering the ongoing Pakistan floods, keeping victims informed through local radio partners and sourcing stories from people calling the radio stations.
He said that as the floods continue to devastate the country the BBC had to adapt its coverage to suit a more long-term model.
When the disaster struck a month ago, it became apparent that the story would be very big, affecting millions of people. As the story became bigger within the first few days, we made the decision to start a “Lifeline” programme with essential life-saving information for the flood victims. The broadcasts contain information like fresh flood alerts, weather reports, how to cope with diseases, how and where to get aid etc (…)
[The radio stations] also decided to use a toll-free phone with voice recording facility and asked the flood victims to call and record their stories.
After being taken on by the BBC Worldwide’s local partner stations, the service was able to be offered in Pashtu as well as Urdu, opening it up to an audience of between 60 and 80 million people. Their stories have provided first-hand accounts of events for the BBC’s overall coverage.
Journalism.co.uk has made its first few steps into the world of podcasting in recent weeks and wants to know how we can use audio in the best way for you.
As well as filing radio features and interviews from events we attend, Journalism.co.uk will also bring you a weekly news-round up of the top stories we think you should know about – our latest one can be found here.
If you’re looking for a new way to offer content to your online audience, Christine Gallagher at socialmediatoday.com discusses the value in multimedia platforms, in particular audio interviews on topics of interest.
She says it is a ‘win-win’ situation for online content providers, their audiences and sources alike.
By doing so you will be providing valuable content to your audience while building relationships with the people you interview. I have developed a deeper relationship with each person that I have interviewed on my online radio show and my listeners are really enjoying the content.
She offers advice on who to interview, what to ask, how to record it and the best way to maximise the impact of the end product online.
Plans to axe digital radio stations BBC 6Music and the Asian Network and to cut the BBC’s £122 million online budget by a quarter have been confirmed today as the strategic review led by BBC director-general Mark Thompson went public.
The proposals will be subject to the BBC Trust’s approval – the FT has the full breakdown.
Audio is one of the most powerful mediums available to the multimedia journalist. Whether it’s radio, podcasts, on video or audio slideshows, audio brings a piece to life. So why is it almost always an afterthought? Too many good films and audio slideshows have been let down by bad quality audio. Here are six tips to make sure that doesn’t happen to you:
1) Let sound breathe
“[A]s soon as a voice comes out of the speakers, the listener attempts to visualise what he hears to create in the mind’s eye the owner of the voice (…) unlike where the pictures are limited to the size of the screen, radio pictures are any size you care to make them.”
Robert McLeish, Radio Production
In other words, with audio your limit is the size of your imagination. Last time I checked, that was pretty big.
So for the love of God, show audio some respect. First off a piece of audio does not have to consist entirely of voices with no gaps in between. In fact that sucks. When you’re out recording, take a moment to listen for sounds – in radio it’s called actuality and it is a key ingredient in bringing sound to life. Doing a story about some people on a boat? We want to hear the water lapping up against the bow. Is your scene in a cafe? Let’s hear the cups clinking, the chatter of everyday conversation, the whoosh! of the coffee machine in action.
This more often than not is recorded as wildtrack. After filming, taking photos, interviewing, whatever, record at least 60 seconds of actuality. It’ll make editing a lot easier too.
Let the audio breathe. Give it a few seconds just to play in your listeners’ imaginations and don’t talk over it. It’ll do more to paint a picture than overladen voice over will.
2) Invest in a good microphone
Audio is so often an afterthought for video and photojournalists alike. This is mostly manifested in using a crap microphone. VJs – don’t use your camera’s onboard mic unless you’re lucky to have something nice like a Canon XL2, Sony EX3, Z1 etc. If you can, buy an external microphone to attach to your camera’s horseshoe. For interviews, it is worth investing in a lapel mic.
Rodemic do some pretty decent offers, including a camera mic for under £100 ($180). For radio journalists, or photojournalists doing audio slideshows, there are a good range of digital audio recorders you can look at. The Marantz PMD620 is small, easy to use and so reliable you’d let it babysit your kids. I took it out to Iraq earlier this year and it was great. It starts at around £300/$500.
The Edirol R-09HR (£211/$349) has had produced some great sounding audio for freelancer Ciara Leeming and journalists are raving about the Olympus DS-40(£82/$135).
3) Get the mic in close
Microphones do not have selective hearing like our ears do: they won’t pick out the voice across the room you’re pointing them at. So get in close to your interviewee – really close – like a little under their chin (if they’re ok with that). It eliminates a lot of background noise, like air conditioning, traffic, squeaks of chairs and all that. And more often than not it gives the recording a richness and an intimacy.
Compare, for example, the effect of these two recordings: the first with a mic held too far away in a large room, the other with it right in close.
Another great tip I picked up: if you can, record your interviews outside – it eliminates that shallow echo you get in peoples’ offices and living rooms.
4) Let the characters talk
A bit of a personal bugbear this, but often the temptation with multimedia projects is to talk all over them, y’know, like they do on the TV and that. But new media means new ways of doing things. And I think one of the great new trends emerging is the silencing of the journalist/reporter voice over.
If you’ve recorded some great audio for your story, let it breathe – let the characters tell their own story. We don’t need to hear you saying, ‘Angie is a mum of three struggling to make ends meet’, when we can hear Angie saying, ‘Things are really hard right now, tryin’ to support three kids, y’know, payin’ the bills… every day’s a struggle.’
This takes some planning in the interview stages – most of all, you need to ask open questions, so your interviewees’ answers start as full sentences. It has been industry practice for many years to ask interviewees to include your question in their answer:
Why are you finding it so hard to make ends meet?
I’m finding it so hard to make ends meet because….etc.
5) Use pauses
If you’re new to using audio, especially if you’re moving from print or photojournalism, the first thing you will notice when you listen back to your interviews is yourself. Going ‘uhuh, yeah, hmmmm, sure…’ all over their answers.
Ask a question – then keep shtum. This pays dividends in some interviews – especially emotional ones – where your interviewee finishes their point. There’s a pause… you would normally fill it by asking a question… but don’t. Stay silent – and let the interviewee fill the pause. It’s a bit mean, but it gets them to reiterate their point, and in the process show what they’re really thinking.
And then keep those pauses in your piece. They are a natural part of speech and often reveal more about your character than their words.
6) Take them on a journey
There are times when it’s right to bring yourself into the piece. But try not to use it just for dry voice overs recorded in a studio. Your voice is best when you’re somewhere your audience wants to be, and you can show them what it’s like.
To achieve this, you’ll need to be very descriptive in your writing. Tell people where you are and what you’re doing in vivid detail.
For the best examples, we have to go way back, to the first broadcast journalists:
“I began to see what was happening to Berlin. The small incendiaries were going down like a fistful of white rice thrown on a piece of black velvet. The cookies – the 4,000-pound high explosives – were bursting below like great sunflowers gone mad.
“And then, as we started down again still held in the light, I remembered that the Dog still had one of those cookies and a whole basket of incendiaries in his belly. And the light still held it, and I was very frightened. I looked down, and the white fires had turned red. They were beginning to merge and spread, just like butter does on a hot plate.”
“There were perhaps a 150 of them, all so thin that their skin glistened like stretched rubber on their bones. Some of the poor starved creatures whose bodies were there looked so utterly unreal and inhuman that I could have imagined that they’d never lived at all. They were like polished skeletons, the skeletons that medical students like to play practical jokes with.
“At one end of the pile a cluster of men and women were gathered round a small fire. They were using rags and old shoes taken from the bodies to keep it alight.”
“Try to use old words, words that reach into the very core, the very oldest part of the language. They have the most impact (…) beware of adjectives. This is a rule I keep breaking and I have to exercise great vigilance to rein myself in. Adjectives are fine in moderation and when they genuinely add to the meaning or clarity of the image being conveyed.”
“Many great photographers make really bad audio slideshows because they treat audio as afterthought, or they try to do a voiceover without having any presentation skills. They might as well not bother.
“Actually I’d go further then that. When you put your photos together with poor audio you actually diminish the value of your photos. Good audio is like a bad dog. It gets its teeth into you and won’t let go.”
The BBC has announced plans to team up with commercial radio groups Global Radio, Bauer Media and GMG, to develop new digital projects for the radio industry – including a ‘a calendar of exclusive digital-only content for listeners on DAB’.