Ben Jones - A2 Media Evaluation

8/2/2019 Ben Jones - A2 Media Evaluation

1/16

A2MediaCoursework

EvaluationBenJones

ForA2mediastudiesIwasgiventhetasktocreateanopening5minutesforadocumentary,adoublepage

spreadtoadvertisethedocumentaryandaradiotrailerforthedocumentary,Ididthisinagroupof3,

researching,?ilming,andeditingaspartofthisgroup.Thetargetaudienceforthedocumentaryissplit

betweentwogroups,the?irst14-21yearoldsandthesecondtheirparents,wearemainlyfocusingonan

ABC1background.Werecordedourworkonablog.

Inwhatwaysdoesyourmediaproduct

use,developorchallengeformsand

conven8onsofrealmediaproducts?

Ques*on1

Inmygroupwelookedatmanydifferentdocumentariesinavarietyofdocumentarygenres

suchasexpositorywerethenarrator/presenter

directlypresentsthefactsusingvarioussourcesofevidencedisplayedtotheaudiencesuchasimages,

interviewsandstatisticsanexampleofanexpository

documentarywouldbeZeitgeistbyPeterTaylor.

Observationaldocumentaries,followingreallife

peoplethiscanbeina1ly-on-the-wallformator

witha?ilmmakerfollowingcertainindividualsand

askingquestionsasthestoryunfoldsthesecouldincludeAirlineorGimmeShelter.Interactivedocumentariesarewherethe?ilmmakergets

involvedactivelywithwhattheyaredocumentinga

goodexampleofthiswouldbeMichaelMooresRoger

andMeorCat


2/16

Asagroupwedecidedtomakeanexpositorydocumentaryas

withthetimeconstraintsandresourcesavailabletouswould

bethemostappropriate,wealsodecidedthatwewouldusea

combinationofbackgroundfootage,titles,voxpopsand

interviewstomakeourdocumentaryengagingand

conventional.ThedocumentarywouldbemadeforTVand

wouldbeshownduringthe8pmslotonChannel4weremany

programmessuchasCuttingEdgeandSuperscrimpersare

shownthisslotisgenerallyforlifestyleandlighterdocumentariesasitisprewatershedandrunsagainst

programmessuchasEastendersonBBCOneandoften

midweekfootballorothersoapsonthemajorUKchannels.Wechosethistimeslotandchannelforourdocumentaryas

thesubjectmatterandstyleofdocumentarywewishedto

make?ittedwithotherprogrammesonChannel4witha

similaraudienceofMiddleEnglandrangingfromteenagersto

theirparents.

Atitlecardintroducesthenameofadocumentarytotheaudienceandisoftena

simplegraphic,inourdocumentaryweusedbackgroundfootagewhichweblurred

andplacedourtitleinthebottomrighthandcornerthiswasbecausewewantedto

haveanunderstatedtitlecardasitwasnotveryimportanttothedocumentaryasa

whole.InSteveJobs:iChangedtheWorldthetitlecardisadetailedgraphic,thissortof

thingwasnotavailabletousasagroupbecauseoftimeandresourceconstraints

hencewhyweusedamoresimpletitlecard.

Inourdocumentaryweused3expertinterviews ,we

conductedtheseinterviewsinavarietyofsettings.The?irst

interviewinthedocumentarywaswithLucyWrightwho

worksforOf?iceShoes,thisinterviewwasontheshop?loorwhilsttheshopwasclosedandhadabackgroundofshoes

thisisrelevanttothesubjectmatterandcanbecompared

withtheconventionsusedinSupersizeMewherean

interviewisconductedwithaformerattorneygeneralin

frontofaseriesoflawbooks,thisgivessubstancetowhat

theyaresaying.Theothertwointerviewswereconducted

inmoresimpleroomsastherewasnotastherewasnotarelevantplacefortheseinterviewsliketherewaswiththe

?irstone.


3/16

InterviewconventionsBigBrands,BigBucks

(Mydocumentary) SupersizeMe

HereIhaveusedtheconventionsofaninterviewIsawinSupersizeMe,theintervieweeis

positionedintherighthandthirdofthescreenwithacomputermonitorplacedinthelefthalfofthescreen,thisgivestheimpressiontotheaudiencethattheintervieweeworksatthestation

theyaresatatandgivestheintervieweemoreofaprofessionalappearance.Another

conventionIhavefollowedofprofessionaldocumentariesisthatofadisplayingtheexperts

nameandcredentialsineitherthelowerleftorrighthandcornerforafewsecondsthe?irsttimethatexpertisonscreenthiscanalsobeseeninSupersizeMe.

VoxPopsareusedinadocumentarytogainopinionsof

thegeneralpublic,asoursubjectmatterandtarget

audiencewerestudentsandteenagersthesearethepeople

wedecidedtointerviewforourvoxpops,weusedthepeopleavailabletousatcollegeandaskedthemaseriesof

questions.Weeditedtheseinterviewsinawaythatwe

wouldkeepgoingbacktothesamepeoplethroughoutthe

sequenceusingquickpacedediting,thisconventionis

usedinmanydocumentariesandcanbeseeninthis

documentary(hyperlink).Wealsousedthelowangle

conventionthatisseenintheSupersizeMevoxpopsectionoutsideaMacDonaldsrestaurant,thisgivesavoyeuristic

effectandmaketheintervieweesmorerelaxedasthe

cameraisnotprominent,theintervieweesalsodonotlook

atthecamerabutinsteadthepersonwhoisaskingthem

thequestions.


4/16

SoundVoiceoverandnarrationareakeyparttoanexpositorydocumentaryasthelinkthefootage

andinterviewstogethertheyalsopresentthedocumentaryandareoftenthesamepersonastheon-screenpresenter,howeverinourdocumentarywedidnothaveanon-screenpresenter

aswedidnothaveanyoneinourgroupwhowishedtobeoncamera,insteadwereliedona

narratorwhichwasaddedattheendofediting.Thenarrationissimilartothatofthenarrator

inSteveJobs:iChangedtheWorldashelinksthesectionstogetherandgivessomebackgroundinformationoversupplementaryfootage,howeverbecauseourintervieweesdidnotanswer

includingthequestionthenarratorhadtotelltheaudiencewhatthequestionwas,thisisnota

standardconventionbutwasnecessarytomakethedocumentarymakesense.

OurdocumentaryencompassesbothDiegeticand

Non-Diegeticsoundthroughpeoplespeakingand

backgroundmusic,weeliminatedmostofthesound

fromthebackgroundfootageandreplaceditwiththe

musicasthesoundisoftennotrelevanttothesubject

ofthedocumentarythisisaconventionwhichisused

inSupersizeMewherepeopleareshotfromtheneckdownandareseenwalkingwhilstthevoiceoveris

talking.Themusicinmostdocumentariesisamixture

betweenfeaturemusicfortitlesandsequencesand

instrumentalandincidentalmusicthroughout.Forour

documentaryweonlyhadcopyrightfreemusic

availabletousandthereforecouldnotusethe

recognisablekindoflyricalmusicusedintheopeningofSupersizeMewhichwasFatbottomedGirlbyQueen,

thereforeweusedanelectronicsongthroughoutthat

wewereabletouseforfree.Wealsosimulatedthe

effectofatypewriterintheopeningofthe

documentaryastextisdisplayedonscreenthissound

effectthatweas?ilmmakersaretypingthisontothe

screenastheaudiencereadsalong,Thisconventionis

similartothatoftextonscreeninZeitgeist.

Zeitgeist

MyDocumentary


5/16

ShotsandEditingThroughoutourdocumentaryweusedavarietyofshotsforvariousaffects,theuseofa

Time-lapseasanestablishingshotforour?irstinterviewisaconventionoftenusedtoeither

giveasenseofscaleortoshowanellipsisoftimewebrokeconventionwiththisshotasit

wasusedforneitherofthesepurposesbutinsteadtosimplydisplaythelocationofthe

interview.Weusedanumberofcutawayshotsandclose-upstoreinforcepointsmadeby

ourintervieweesorthenarrator,thisisalsodonebySpurlockinSupersizeMeduringinterviewstoalsoreinforcethepointanexpertismakingduringaninterview.Forour

interviewsweaimedtouseamediumclose-uptofocusonwhattheintervieweewassaying

whilstnotbeingoverlyintrusiveoftheframe,thiscanbeseeninmostconventional

documentariesasshowninSteveJobs:iChangedtheWorld.

ForthemajorityofourdocumentaryweusedstraightcutsinourEditing,thisis

conventionalforadocumentarythathasaseriousmessageastransitionscanoftenbe

distractedanddetractfromthemessagethedocumentaryistryingtoconvey.Wedidhoweveruseafewfadesthroughblackasapunctuationdevicetobreakuppointsorfora

changeofshot,thiscanbeseeninmanyobservationaldocumentariesbutwealsousedthis

conventionasisslowsthepaceofthedocumentarythatisotherwisefastpaced.

Time-lapse Cutaway

Transi*on Straightcut Exampleoftransi*on:dissolve


6/16

MagazineConventionsInthemagazinearticlethatIcreatedtopromotethedocumentaryIbothfollowedand

challengedseveralconventionsofdoublepagespreadintheRadioTimes,IchosethisTV

istingsmagazineasithasoneofthehighestreadershipsandwouldmostlikelybereadbythe

40-55agerangeandwhoareABCthisisthesecondtypeofaudiencewewishedtoattractto

thedocumentaryastheyaremostlikelytobetheparentsofthestudents/teenagersinour

primaryaudience.

1. Mainimage2. Secondaryimages3. Headline4. Lead-in5. Text

6. Radio*mesfooter7. Pagenumber8. Imagecap*on9. Pullquote10.Imagecredit

1

1 223

4

4

5

5

6

6

7

7

8

8

9

10

10

Thisarticledoesnotcontainapullquote,

howevermanymagazinearticledoandthatis

whyIhaveincludeditinmyarticle.

RadioTimesabove

Myar*cleright


7/16

InmyradiotrailerIlookedradioadvertsforprogrammesonBBCprogrammesandtherefore

advertisedonBBCradioaswellasadvertsforotherprogrammesoncommercialradio,asthe

documentaryisonChannel4theradiotrailerwouldhavetobeonacommercialstation,to

reachtheselectedtargetaudiencethetrailerwouldbeplayedonCapitalFM,Kerrang,and

Absolute,thesearethreeofthebiggestcommercialstationsinthecountryandwillgainthemostlistenersbetweenboth14-21yearoldsandtheirparents.Theradiotrailerbeginswitha

narratorintroducingtheprogrammewithsomequietbackgroundmusic,thereisthenaseries

ofquotesfromthedocumentaryfollowedbyarecapofwhenandwhatchanneltheprogramme

ison.

Q2Howeffec8veisthecombina8onofyourmainproductand

ancillarytexts?Ibelievethat,asawholewecreatedabrandidentitybetweenthemainproduct

(documentary)andancillarytasks(doublepagespread&radiotrailer)effectively,wedidthisinsimilarwaystohowaconsumerbrandmarketsitselfthroughconsistenciesintheimagethey

usefortheproductandthewayitisadvertisedbyusingsimilarquotes,imagesandfonts

throughoutamultiplatformcampaign.

Themaincombinedfeatureofallthreeofourproductsisthequote

fromJodieHessionwhoweinterviewedforourdocumentarythequoteisFashionallowspeopletoshowwhotheyareandde


8/16

Inboththedocumentaryandforthetitlesofthemagazinearticleweusethesamefont

Cooper std blackthisallowsalinkbetweenthetwoproductstobeestablishedandas

thefontisquiteboldincomparisontootherfontsmeansthatthewritingonthescreenand

onthepagestandsoutunlikenormalseriffontsuchasArialorHelveticafortitles.

Makingsurethattheinformationgivenintheancillarytextsisconsistentisalsoimportant

tomakesurethattheproductscombinewell,wemadesurethatthechannelthe

documentarywouldbeshownonandthetimeslotwouldbethesameinboththeradio

trailerandmagazinearticle,thoughaminordetailitmakessurethatanyonewhowasto

seeorheartheseproductswouldknowwhenandwheretheycouldwatchtheprogramme.

Thetargetaudiencewasconsideredwhenwewerecreatingourdocumentaryandthe

ancillarytextsasweneededallthreeproductstoappealtoourtargetaudienceof14-21

yearoldsandtheirparentswedidthisthroughmakingthedocumentaryappealtoboth

partsofouraudiencebutusedtheradiotrailertoappealmoresotowardstheyounger

audienceandthemagazinearticletoappealmoresototheolderparentaudiencewewere

tryingtoattractthroughthecombinationofthetwowewouldbeabletogainthefull

intendedaudienceforourdocumentary.

Q3Whathaveyoulearnedfromyouraudiencefeedback?

Aftercompletingthetasksweshowedourdocumentary,radiotrailerandmagazinearticle

toagroupof17and18yearolds,theseareinthemiddleofourprimaryaudienceandalsotheagerangemosteasilyavailabletous.Wedidaquestionnaireforeachoftheproducts

sothattherespondentswouldknowwhatquestionswererelevanttowhichproduct.We

decidedtousebothopenandclosedquestionstogainfeedbackfromouraudiencethis

wouldgiveisideasonhowtoimprove,andspeci?icareaswhichtheyenjoyedbutwould

alsogiveusquantitativedatatoscrutinisethemeasurableopinionofcertain

demographicwithinouraudienceforexamplewhethermalesthoughtthedocumentary

wasmoreinformativethanfemales.

Theclosedquestionsinthequestionnairesgaveusnominal

datahoweverinhindsightitwould

havebeenequallybene?icialtohave

gainedordinaldatabyaskingour

respondentstohaverankedwhich

partsoftheproductsworkedbestto

seewhatwereourstrengthsandour

weaknesses.


9/16

Fromthefeedbackforthedocumentary

wefoundthattheaudiencethoughtthatall

ofourrespondentsthoughtour

documentaryhadaprofessionallookand

wasgenerallyinformative.Wealso

discoveredthatthemajoritywouldchoose

towatchadocumentaryonthissubject.

Fromthefeedbackwerealisedthatwe

neededtoimproveoursoundlevelswe

attributedthistothedif?icultieswehad

withthelicensefreemusicandbyusingthesamesongthroughout,giventhe

chanceIwouldliketohaveimprovedthis

byusingmorerelevantandrecognisablemusicandspendlongereditingthesound

forthedocumentary.Whenaskedwhether

thedocumentarywouldhavebene?itted

fromanonscreenpresenterthe

respondentssaidno,howeverIbelieve

thatanonscreenpresenterwouldhave

giventhedocumentaryabetterpaceand

makeitmoreinteresting.

37%

63%

Thedocumentarylooked

professional.

stronglyagree

agree

25%

75%

Thedocumentarywasinforma8ve

stronglyagree

agree

87%

13%

Wouldyouchoosetowatchadocumentary

onthissubject?

yes

no


10/16

Thefeedbackforthemagazineshowedusthat

girlsweregenerallylessinterestedinthearticle

thanboys,somethingwefoundsurprising,as

generallygirlsaremorefashionconsciousthan

boys.Alloftherespondentsgenerallyagreedthat

thearticlelookedprofessional,howeverlacked

colour.Ibelievethathavingtoomuchcolouror

anymorecolourinthearticlewoulddetractfrom

itsprofessionallookandasthestyleandthe

conventionsIfollowedaresimilartotheRadio

Times,muchmorecolourwouldgoaboutchallengingtheconventionsofadoublepage

spread.0 2 4 6

stronglyagree

agree

notsure

disagree

stronglydisagree

Thear8cleisinteres8ng

fem

ma

0 1 2 3 4 5 6 7

Thedoublepagespreadlooksprofessional

stronglyagree agree

Forourradiotrailerwefoundoutthatmalesbelievedthattheycouldseethe

advertbeingplayedoncommercialradiohoweverhalfofthegirlswereunsure

whetheritwasprofessionalenoughforradio.Mostoftherespondents

commentedonthesoundlevelssayingtheyneededimprovingasthevoiceover

couldntbeheardforsomepartsofthetrailer,givenmoretimeIwouldhavere-

recordedthevoiceovertomakeitlouderandclearer.

0 1 2 3 4 5 6 7 8 9

male

female

Likelytohearthisradiotraileroncommercial

radio

agree notsure


11/16

Q4Howdidyouusemediatechnologiesintheconstruc8onand

research,planningandevalua8onstages?IusedtheInternetinboththeresearchstageandevaluationstageofmycoursework;itisan

invaluabletoolto?indoutinformationrelevanttodocumentaryconventionsandtheconventionsofbothradiotrailersandmagazinearticles.IgenerallyusedtheGooglesearch

engineto?indwebsitesrelevanttoresearchingforthetasks.Torecordmyprogressduringthe

stagesofthecourseworkIusedagroupblogthroughtheBlogSpotwebsite.TheBlogSpot

websiteiseasytouseandpostscanbefullyeditedinatext/htmlbasededitor.Tosharemy

evaluationIwilluseScribdaservicethatallowsyoutopublishdocumentsonlineandembed

ontowebsites,thiswillmeanthatmyevaluationwillnothavetodownloadedtobeviewed.

YouTubeandvariousondemandservicessuchas

4oDwereespeciallyusefulduringtheevaluation

stageasIhavebeenabletogainscreenshotsfrom

otherdocumentariestoillustratethepointsI

havemadetheyarealsousefulwhilstresearching

forthedocumentarybyallowingtheuserto

watchagreatvarietyofdocumentariesfreeofcharge,Iusedtheseservicestowatchseveral

documentariesbeforeplanningmydocumentary

andgavememanyideasofthingsthatIcould

includeintomydocumentary.Theproblemswith

theseserviceshoweverissomecontentisnow

unavailablewhenIamevaluatingmy

documentaryaswiththeBBCiPlayerservice

programmesareonlyavailableforbetween7and

30days.


12/16

WeusedaCanonHG20camcorder,thiscamcorderrecordsontoaharddriveinsteadofaremovablestorage

cardordisc,thismeansthatthecapacityisincreased

allowingforhigherqualityandHDrecording,howeverthiscanleadtomoreproblemswhentransferringthe

footageasbothapowercableandUSBcablemustbe

pluggedintothecamcordertotransferfootageontothe

computerthismeantthatwesometimeshadto?inish

?ilmingearliersothatwecouldtransferthefootagein

time,thisalsomeantthatwecouldnottransferfootage

onthegoontoalaptop.Thefootagewerecordedcould

onlybeviewedonthecamcorderorbyusingthelogand

transferwindowonFinalCutExpressastheaudioandvideoisseparatedonthecameras?ilesystem.

Thebene?itsofthecamerawerethatwecould

plugbothourmicrophoneandheadphonesinto

thecamerasowecouldrecordaudiothatwas

alreadysyncedwiththevideoathighquality

whilstbeingabletomonitorthesound.Wecould

alsoadjustthewhitebalanceandfocusofthe

shotmanuallytogivethevideoandinfocusand

naturalfeel,somethingthatishardtocorrectin

postproduction.

Atripodisanecessarypieceofequipmentfor

?ilmingasitallowsforasteadyshotthatis

essentialtogainaprofessionallookforanysetup

shot.Thesteadycamerameansthatitiseasierto

keepthesubjectinshotandthatsomeonedoesnothavetoconstantlyoperatethecameraduring

?ilming.Wedecidedagainstusingahandheld

camerashotinourdocumentaryasthisismore

commonlyseenininteractiveorobservational

documentarieswheretheactionisunfoldingasit

isbeingshot,asourdocumentaryisretrospective

wehadtimetosetupourshotsanduseatripod

insteadof?ilmingwhatwesaw,asithappened.


13/16

Weusedheadphonesduring?ilminginconjunctionwitha

directionalmicrophonetorecordandmonitorthe

diegeticsoundfrominterviewsandvoxpops.The

headphonesallowedustomakesurethatwecouldclearlyhearwhatourintervieweesweresayingclearly

andtomakesuretherewasalowlevelofbackground

noise.Thedirectionalmicrophoneneededtobekeptout

ofshotbuthadtobecloseenoughtotheintervieweeto

pickupthesound,wegenerallyheldthemicrophone

belowtheshotandclosetotheintervieweetogetthe

clearestsound.Weusedthemicrophoneagainwhenwerecordedthevoiceoverhoweverthistimethe

microphonecouldhavebeenheldmuchcloserasno

videowasbeingrecorded.

Weusedanaudiorecordertorecordthe

voiceover,therecordingswerein.WAVformat

thathasahighbitrateandaclearsound,andthe

audiocouldbeeasilycutandarranged.Theaudio

recorderissimpletouseandhasahighcapacity

thereforewecouldrecordmultipletakesof

differentlinesfromthevoiceoveranddecidewhichwewantedtouseinthe?inalpiece.

Forthecreationoftheancillarytextsandtheeditingofthe

documentaryfootageweusedAppleMaccomputers,theseworkstationsareselfcontainedwithalargehigh

resolutionscreenthatisclearandeasytousewhen

editingastherearemultipleitemsonscreenthatneedto

beviewedatonce.Macshavehigh-speedprocessorsand

largeRAMthatallowsforlarge?ilestobeusedandprocessedwithlittletonolag.TheMacOSXoperating

softwareiseasytouseandasIuseitregularlyIfoundit

highlyproductiveandsimpletouse,asmallbene?itof

usingAppleMacsduringtheevaluationisthatscreen

grabsofsmallersectionsofthescreencanbemadeby

usingcmd+shift+4andthensimplydraggingacrosshair

acrossthepartofthescreenrequiringcapture,a.PNG?ile

ofthecaptureisthenautomaticallysavetothedesktop,

thisisadvantageousoverwindowswereawholescreencaptureisonlyputintotheclipboardandfuturesavingandcroppingisrequired.


14/16

IcreatedmydoublepagespreadinAdobeInDesignCS3,thisisanindustrystandardpublishingtoolandisusefulforcreatingpagelayouts

andforcreatingitemsforprint.Iusedtherectangularplaceholdertool

tolayoutmydoublepagespread,Icouldthendragimagesintotheseframesortextandwouldnotneedtorepositionorresizethemto?itas

thiswasalreadysetout.AfterwritingthearticleinMicrosoftWordfor

mac,whichallowedmetoeditandproofthearticlemoreeffectively,I

copiedthetextintotheframeonInDesign;thetextdoesnot?itthebox

automaticallybutbydraggingthecrosshairfromthebottomcornerof

theboxIcouldcreateasecondboxwhichcontinuedthetext,Ididthis2

furthertimesuntilallthetextwasvisible,thismeantthatallthetextwas

linkedandanychangestothesizewouldmovethetextthroughallthe

fourboxesmeaningIcouldmanoeuvrethetextmucheasierthan

splittingitmanuallythrough4boxes.

IalsousedAdobePhotoshopCS3duringthecreationofmymagazinearticle;themainuseofthisapplicationthatisvisibleinthe?inalpieceisthecreationofthepricetag

shapedtextholdersthatprecedesthearticleandcontainsapullquoteandinformation

abouttheprogramme.Icreatedtheseimagesusingaseriesofshapesoverlaidontoone

anothertocreatetheimpressionofasingleshape;Ithen?lattenedtheimagetogivea

singleshape.

Process

usedto

create

tag

shapes.

ToeditthefootageforthedocumentaryweuseFinalCutExpress,abasic

versionofthecommonlyusedprofessionaleditingsuiteFinalCutPro.Afterthecompletionof?ilmingweusedthelogandtransferscreeninFCEto

bringinalltheclipswewishedtouseforthedocumentaryandtotransferit

intotheproject?ile,thelogandtransferscreenallowedustowatchbackall

ofourrushfootageandselectastartandendtimeforeachindividualclip

wewishedtouseandtorenametheclipsoweknewwhattheclipwas

whenwecametoediting.


15/16

FCEislaidoutintheformofamultichannelledtime

linethatissplitbetweenaudioandvideo,themultiple

channelsallowforoverlapsandoverlaysofsoundand

video.Weoverlaidthebackgroundmusicoverthediegeticsoundandthevoiceover;thismeantthatwe

couldkeepthemusicplayinginthebackgroundwhilstthereisstillotheraudiobeingplayed.Overlayingthe

videomeantthatwecoulddisplaytextonscreenwhilst

thevideoisstillbeingplaidandthatwecouldcreate

multi-layeredgraphicsuchastheVanssales?igures

werewehadbothanimageandtextonscreen

simultaneously.

TogivethestillimagesusedinthedocumentaryabetterlookIusedthescaleandcentre

optionsintheclipoptionsscreen,thisallowedmetoanchor2pointsofaclipandeitherallow

thecliptograduallymoveacrossthescreenortozoominontheimage,similartothestyleof

KenBurns.Thiseffectwasachievedbychangingtheplacementofthecentreorincreasingthezoomlevelatthesecondanchorpoint,FCEthenautomaticallygraduatesthechangeintoa

?luidmovement;Imainlyusedthiseffectontheimageswheretextwasalsoonthescreenor

whenusingstillimagesasbackgroundfootage.


16/16

ByunlinkingthesoundandvideoIcouldextendthecliplengthofthesoundordeleteitaltogether

thisallowedmetohavethesoundplayingwhilst

visuallyonscreentheclipwasntplayinginsteadI

couldshowbackgroundfootage.Inthecasethattheclipwasofbackgroundfootageitallowedme

todeletetheaudiofrombackgroundfootage

altogether,minimisingtheirrelevantdiegetic

soundinthedocumentary.

Thesplicetoolallowsforthecuttingofaclipataspeci?icpointthiswas

usefulforwhenwesplittheinterviewsupandfrocuttingupthevox

pops,.FCEautomaticallycutsaclipattwopointswhenyoulayanother

clipontopofit,thisishowweaddedbackgroundfootagetoourexpertinterviews.

TocreatetheradiotrailerIusedGarageBand

partoftheAppleiLifesoftwarerange,itisaneasy

tousebeginnerstoolforaudiocreationand

editingandcomeswithpresentsforboth

podcastsandmusicrecording.Ifoundthatwith

itssimpleinterfacebutwiththelevelofaccuracyitgavemeitwasaveryusefultooltotrimclipsfromthedocumentaryandtoarrangetheminto

thetrailer.ThemethodIusedtotrimtheclips

wasbyzoominginontheclipIwantedtotrim

andthenhighlightedwhatpartoftheclipIwantI

wouldthencopyandpastetheselectionIwanted

anddeletedtheoriginalclip.

InGarageBandIalsocreatedthebackingtrack

fortheradiotrailer,Iusedtheavailablesound

loopstoaddabeatandsomesynthstotheradio

trailertoavoidanyareaswheretherewouldbe

nospeech,thisgivestheradiotraileramore

completefeel.ThewayinwhichIdidthiswasto

draganddroptheloopsontothetrackandthen

repeatedtheseloopsforthedurationofthetrailer

Documents

Ben Jones - A2 Media Evaluation