Media Gatherers

In a series of articles taking a closer look at the building blocks of Multimedia Journalism, these articles will look into all of the elements that make up a multimedia piece.

In it’s true sense Multimedia consists of three elements – still images, audio and video. The series intends to break down each of these individual elements hopefully highlighting the importance of understanding each process separately in order to produce an effective and powerful piece.

PART 2: The Audio

In the last post I covered the basic building blocks of putting together a photo essay from a photographic point of view, in this follow-up piece I’m going to look at capturing Audio.

Now I’m not a Radio 4 journalist or a qualified sound engineer so this is based on what I have learnt, picked up and become aware of during my experiences with capturing audio and some of things that I am now more aware of.

Take from it what you will, learn from your own mistakes but don’t underestimate just how important capturing good audio is and how, once dropped in with images it can raise the quality of a finished piece.

The first thing I learnt about audio is that just when you think you have enough audio for your purpose the chances are that you don’t! Make sure that you have enough because once you have done an edit and run it along side the images I found in the beginning that I never had enough and in your need to complete the piece it is easy to try and ‘make the audio fit’, this results in a less polished piece and can actually reduce the impact.

Let your audio breath – don’t always rush into filling the spaces between pauses in an interview, more on interviews later, but if there is a natural pause during the interview then let it be. It will be more believable and natural if they are left in.

Record the ambient – or as they say in radio speak the ‘actuality’, sixty seconds of actuality may prove beneficial later, especially when you need to include a break in your audio edit or in the interview or as a means to move to another part of the story. Thinking in terms of video, a good video cameraman will always shoot some ‘cutaways’, images that can be dropped into a piece and used on occasions to cover an edit. I see actuality as serving a similar purpose.

Ambient versus narrative? Does the piece need only ambient audio or does it need a narrative overlay, in other words someone speaking over the images? This could be in the form of a voice over, although a word of caution here because unless it is done right by someone who can speak well it won’t work – Think about David Attenborough talking about dolphins or gorillas or something then replace him with Chubby Brown – ain’t gonna work!!

A combination of the two may be needed, what I think is strongest is what is called ‘Character Driven Audio’ – A story that has some ambient (actuality) but is primarily led by a narrative from the main character in the piece. If this is what you want to achieve of course, if your doing a story about a farmer for example then this could work, if your story is on a place or an activity then it may not be the way to go.

When you record your audio consider…
1 – What is the essence of the Story?
2 – Does the audio provide the information that the viewer needs to know?
3 – What will the viewers learn from the story?

A word of caution on audio – in multimedia it forms a key part of the story, don’t treat it is an afterthought or an add on, it plays just an important a part as the images. Work hard to get it right and practice.

Ensure the microphone is held close enough to the person your interviewing – this ensures good, ‘rich’, audio quality from your subject and less chance of unwanted ambient sound being picked up – we’re talking about a couple of inches from their mouth. Remember to look at THEM not the sound recorder.

Know your equipment – the strangeness of having a microphone shoved in their face will be reduced if you listen to what they say and look them in the eyes. It will help build that rapour and reduce any discomfort they might feel initially.

Remember that anything you say will also be recorded, ask them to repeat your question in their answer. For example, Q: How long have you lived here? A:2 Years. Instead try, Q: How long have you lived here? A: I have lived here for 3 years. This second answer can stand alone if required. Also, when interviewing try and avoid the ‘Umms’ and ‘Arrs’ and ‘okay’s’ that you would normally use during conversation. It does seem strange and a little ignorant at first to do this but your audio will be better.

Even say to the subject before the interview that your not going to respond as it will mess up the audio, I sometimes tell them that I don’t want my voice on the piece and that it is more important to hear what they have to say.

Interview or pictures first? – No default answer here, whatever works on the day. Sometimes photo ideas will come from the interview, sometimes questions will arise from the pictures. A combination of both will usually work.

Audio is difficult to do well, when combined with stills there are other considerations but when done well it can  go towards a strong and powerful piece.

Give it a go and get some audio.

Series Introduction

An article series taking a closer look at the building blocks of Multimedia Journalism.
The articles will look into all of the elements that make up a multimedia piece.

In it’s true sense Multimedia consists of three elements – still images, audio and video. The series intends to break down each of these individual elements hopefully highlighting the importance of understanding each process separately in order to produce an effective and powerful piece.

PART 1: The Photo Essay

Part 1 will deal with the still imagery aspect of multimedia, hopefully giving you an insight into what images help build a strong and powerful multimedia piece.

Before we rush straight into this thing called multimedia lets backtrack and get back to basics and explore what telling stories with images is all about.

Photography is a powerful way to illustrate events, ask yourself what imagery you remember from various times in history.

The naked girl running from a village in Vietnam following a napalm attack, an aeroplane seconds from striking the World Trade Centre, an unarmed man in Beijing, China, standing defiantly in front of a column of tanks as they rolled into Tiananmen Square, a flag raised over the island of Iwo Jima after fierce fighting, a sailor kissing a girl at the end of the second world war, a vulture looking on as a starving child lies in the dust….you get the point.
There are many more.

Each of those images is, rightly so, held up as a symbol of events from that specific time, sometimes marking a turning point in history, sometimes changing history.

This is the power photography has. Potentially an awesome power for change.

These are strong stand alone images but to create a strong photo-essay then the images need to run in a sequence, they need to tell a story, they need to take the viewer on a visual journey from one point to another.This is not easy, because the photographer needs to have an idea what he wants to achieve and plan for this.
This could happen over a few days or weeks or, in the case of a spot news event, it might have to be done immediately bringing with it additional pressure.

In video they call it a storyboard, this is the ‘blueprint’ that the story will follow, either directly or as a foundation on which to base the story. Without this it is easy to loose sight of the story and what you want to achieve.

There are certain types of images that together will produce visual variety in your photo essay.

• OVERALL or General View (GV) – Establishes the scene.
• MEDIUM – Focuses on one activity or group.
• CLOSE-UP – An element or intricate detail.
• PORTRAIT – A standard portrait or an environmental portrait.
• INTERACTION – People in conversation or action.
• SIGNATURE – A summary of the story with the key elements.
• SEQUENCE – To create a sense of drama, or a how-to piece.
• CLINCHER – A strong image that could bring the piece to an end.

If, and it’s not always going to be possible, these elements are brought into a story then it will flow more naturally with a tempo that will produce a strong photo essay.

I’m all for being creative and going into a situation without having to think about a hard and fast formula but at times this process will allow a skeleton or framework to be built, around which your creative photographs can be built.

Using the points above will give you a sense of direction for your project, it will solidify your thoughts and ultimately serve as the skeletal foundation to any good story.

In part 2 of ‘Multimedia Building Blocks’ I will be looking at Audio.

Series Links:

• Part 1 – The Photo Essay

I remember stumbling across media storm over a year ago. It was the first time I had ever seen professionally cut multimedia projects merged into one slick site.
I still remember been blown away by the power of some of the work. As a little homage to my first multimedia experience I thought I would drop by and check it out again – something I haven’t done in a while.

The site is still very slick – it comes across as a little commercialised now (we all have to make money!). I’ve just sat and enjoyed “Driftless: Stories from Iowa” by Danny Wilcox Frazier.

The video works well – composition wise there are some stunning shots. I can’t work out whether the still frames are actual photographs or grabs from the video – does it matter?

Either way, in the coming days I intend to spend more time watching all of the presentations and I would highly recommend that you do the same.