Good Morning! MCS2490/BMS2308 Package Production September/October - - PowerPoint PPT Presentation

Good Morning! MCS2490/BMS2308 Package Production

September/October 2017 Ulrich Werner

Microphones Radio Ads Audio Production Process Project Idea Generation

How Microphones work

• Microphones are a type of transducer ‐ a device which converts energy

from one form to another. Microphones convert acoustical energy (sound waves) into electrical energy (the audio signal).

• Different types of microphone have different ways of converting energy

but they all share one thing in common: The diaphragm. This is a thin piece of material (such as paper, plastic or aluminium) which vibrates when it is struck by sound waves. In a typical hand‐held mic like the one below, the diaphragm is located in the head of the microphone.

Credits to mediacollege.com

How Microphones work

• When the diaphragm vibrates, it causes other components in

the microphone to vibrate. These vibrations are converted into an electrical current which becomes the audio signal.

• Note: At the other end of the audio chain, the loudspeaker is

also a transducer ‐ it converts the electrical energy back into acoustical energy.

Types of Microphones

There are a number of different types of microphone in common use. The differences can be divided into two areas: (1) The type of conversion technology they use This refers to the technical method the mic uses to convert sound into

• electricity. The most common technologies are dynamic, condenser,

ribbon and crystal. Each has advantages and disadvantages, and each is generally more suited to certain types of application. The following pages will provide details. (2) The type of application they are designed for Some mics are designed for general use and can be used effectively in many different situations. Others are very specialized and are only really useful for their intended purpose. Characteristics to look for include directional properties, frequency response and impedance (more on these later).

Mic Level and Line Level

• The electrical current generated by a microphone is

very small. Referred to as mic level, this signal is typically measured in millivolts.

• Before it can be used for anything serious the signal

needs to be amplified, usually to line level (typically 0.5 ‐2V).

• Being a stronger and more robust signal, line level is

the standard signal strength used by audio processing equipment and common domestic equipment such as CD players, tape machines, VCRs, etc.

Mic Level and Line Level

This amplification is achieved in one or more of the following ways:

– Some microphones have tiny built‐in amplifiers which boost the signal to a high mic level or line level. – The mic can be fed through a small boosting amplifier,

• ften called a line amp.

– Sound mixers have small amplifiers in each channel. Attenuators can accommodate mics of varying levels and adjust them all to an even line level. – The audio signal is fed to a power amplifier – a specialized amp which boosts the signal enough to be fed to loudspeakers.

Dynamic Microphones

• Dynamic microphones are versatile and ideal for

general‐purpose use. They use a simple design with few moving parts. They are relatively sturdy and resilient to rough handling.

• They are also better suited to handling high volume

levels, such as from certain musical instruments or

• amplifiers. They have no internal amplifier and do

not require batteries or external power.

How Dynamic Microphones work

The diaphragm is attached to the coil. When the diaphragm vibrates in response to incoming sound waves, the coil moves backwards and forwards past the magnet. This creates a current in the coil which is channeled from the microphone along wires. A common configuration is shown below.

How Dynamic Microphones work

• Earlier we mentioned that loudspeakers perform the opposite

function of microphones by converting electrical energy into sound waves.

• This is demonstrated perfectly in the dynamic microphone

which is basically a loudspeaker in reverse. When you see a cross‐section of a speaker you'll see the similarity with the diagram above. If fact, some intercom systems use the speaker as a microphone.

• You can also demonstrate this effect by plugging a

microphone into the headphone output of your stereo, although we don't recommend it!

Condenser Microphones

• Condenser means capacitor, an electronic component which

stores energy in the form of an electrostatic field. The term condenser is actually obsolete but has stuck as the name for this type of microphone, which uses a capacitor to convert acoustical energy into electrical energy.

• Condenser microphones require power from a battery or

external source. The resulting audio signal is stronger signal than that from a dynamic. Condensers also tend to be more sensitive and responsive than dynamics, making them well‐ suited to capturing subtle nuances in a sound. They are not ideal for high‐volume work, as their sensitivity makes them prone to distort.

How Condenser Microphones work

• A capacitor has two plates with a voltage between them. In the condenser

mic, one of these plates is made of very light material and acts as the

• diaphragm. The diaphragm vibrates when struck by sound waves,

changing the distance between the two plates and therefore changing the

• capacitance. Specifically, when the plates are closer together, capacitance

increases and a charge current occurs. When the plates are further apart, capacitance decreases and a discharge current occurs.

• A voltage is required across the capacitor for this to work. This voltage is

supplied either by a battery in the mic or by external power.

The Electret Condenser Microphone

• The electret condenser mic uses a special type of

capacitor which has a permanent voltage built in during manufacture. This is somewhat like a permanent magnet, in that it doesn't require any external power for operation. However good electret condenser mics usually include a pre‐amplifier which does still require power.

• Other than this difference, you can think of an

electret condenser microphone as being the same as a normal condenser.

Directional Properties

Every microphone has a property known as directionality. This describes the microphone's sensitivity to sound from various

• directions. Some microphones pick up sound equally from all

directions, others pick up sound only from one direction or a particular combination of directions. The types of directionality are divided into three main categories:

• Omnidirectional

Picks up sound evenly from all directions (omni means "all" or "every").

• Unidirectional

Picks up sound predominantly from one direction. This includes cardioid and hyper‐cardioid microphones

• Bidirectional

Picks up sound from two opposite directions.

Omnidirectional

• Captures sound equally from all directions.
• Uses: Capturing ambient noise; Situations

where sound is coming from many directions; Situations where the mic position must remain fixed while the sound source is moving.

– Note: Although omnidirectional mics are very useful in the right situation, picking up sound from every direction is not usually what you need. Omni sound is very general and unfocused ‐ if you are trying to capture sound from a particular subject or area it is likely to be overwhelmed by

• ther noise.

Unidirectional: Cardioid

• Cardioid means "heart‐shaped", which is the type
• f pick‐up pattern these mics use. Sound is picked

up mostly from the front, but to a lesser extent the sides as well.

• Uses: Emphasizing sound from the direction the

mic is pointed whilst leaving some latitude for mic movement and ambient noise.

Notes: The cardioid is a very versatile microphone, ideal for general

• use. Handheld mics are usually cardioid.

There are many variations of the cardioid pattern (such as the hyper‐cardioid on the next slide).

Unidirectional: Hyper‐cardioid

• This is exaggerated version of the cardioid pattern.

It is very directional and eliminates most sound from the sides and rear. Due to the long thin design of hyper‐cardioids, they are often referred to as shotgun microphones.

• Uses: Isolating the sound from a subject or

direction when there is a lot of ambient noise; Picking up sound from a subject at a distance.

Notes: By removing all the ambient noise, unidirectional sound can sometimes be a little unnatural. It may help to add a discreet audio bed from another mic (i.e. constant background noise at a low level). You need to be careful to keep the sound consistent. If the mic doesn't stay pointed at the subject you will lose the audio. Shotguns can have an area of increased sensitivity directly to the rear.

Bidirectional

• Uses a figure‐of‐eight pattern and picks up

sound equally from two opposite directions.

• Uses: As you can imagine, there aren't a lot
• f situations which require this polar
• pattern. One possibility would be an

interview with two people facing each

• ther (with the mic between them).

Variable Directionality

• Some microphones allow you to vary the directional

characteristics by selecting omni, cardioid or shotgun patterns.

• This feature is sometimes found on video camera microphones,

with the idea that you can adjust the directionality to suit the angle of zoom, e.g. have a shotgun mic for long zooms. Some models can even automatically follow the lens zoom angle so the directionality changes from cardioid to shotgun as you zoom in.

• Although this seems like a good idea (and can sometimes

be handy), variable zoom microphones don't perform particularly well and they often make a noise while

• zooming. Using different mics will usually produce

better results.

More Features of Microphones

• Impedance: When dealing with microphones, one

consideration which is often misunderstood or overlooked is the microphone's impedance rating. Perhaps this is because impedance isn't a "critical" factor; that is, microphones will still continue to operate whether or not the best impedance rating is used. However, in order to ensure the best quality and most reliable audio, attention should be paid to getting this factor right.

• If you want the short answer, here it is: Low impedance is

better than high impedance.

More Features of Microphones

• Frequency response refers to the way a microphone responds

to different frequencies. It is a characteristic of all microphones that some frequencies are exaggerated and

• thers are attenuated (reduced).
• For example, a frequency response which favors high

frequencies means that the resulting audio output will sound more trebly than the original sound.

How to use Microphones

The microphone is perhaps the most critical part of the audio chain (assuming that all other components are at least acceptable quality). A good quality microphone will provide you with the basis for excellent audio, whereas a poor quality microphone will mean poor quality audio ‐ no matter how good the rest of the system is.

How to use Microphones

• The microphone (mic) is a ubiquitous piece of equipment. Found in

everything from telephones to computers to recording studios, microphones are part of our daily life.

• Few people think about the microphone in their telephone when they use
• it. Some people think about the microphone on their video camera when

they use it. All professionals pay careful attention to their microphones whenever they use them.

• Don't make the mistake that many amateurs make and use whatever mic

is at hand (e.g. using a vocal mic for a bass drum). Also, don't make the mistake of assuming that using a microphone is easy. Microphone technique is a learned skill ‐ plugging it in and pointing it isn't always enough.

Choosing the right Microphone

• As discussed before, there are many different types of

microphone in common use. The differences are usually described in two ways: The technology they use (e.g. dynamic, condenser, etc.) and their directionality (e.g. omnidirectional, cardioid, etc.). In addition, microphones have a number of

• ther characteristics which need to be taken into account.
• When choosing a microphone, the first thing you will need to

know is what characteristics you need. After that, you can worry about things like size, brand, cost, etc.

Purchasing a Microphone

If you can afford it, it makes sense to buy a range of microphones and use the most appropriate one for each job. If your budget is more limited, think about all the different things you need to use the mic for and try to find something which will do a reasonable job of as many of them as possible.

• For vocalists a simple cardioid dynamic mic (such as the Sure

SM58) is a good starting point.

• For video makers, a useful option is a condenser mic with

selectable directionality, so you can change between cardioid and hyper‐cardioid

How to position a Microphone

• The golden rule of microphone placement is get the distance
• right. In general, place the microphone as close as practical to

the sound source without getting so close that you introduce unwanted effects (see below).

• The aim is to achieve a good balance between the subject

sound and the ambient noise. In most cases you want the subject sound to be the clear focus, filled out with a moderate

• r low level of ambient noise. The desired balance will vary

depending on the situation and the required effect. For example, interviews usually work best with very low ambient

• noise. However if you want to point out to your audience that

the surroundings are very noisy you could hold the mic slightly further away from the subject.

How to position a Microphone: Not too close

It is possible to get too close. Some examples:

• If a vocal mic is to close to the speaker's mouth, the audio

may be unnaturally bassy (boomy, excessive low frequencies). You are also likely to experience popping and other unpleasant noises.

• A microphone too close to a very loud sound source is likely to

cause distortion.

• Placing a mic too close to moving parts or other obstacles may

be dangerous. For example, be careful when micing drums that the drummer isn't going to hit the mic.

Common Mistakes with Lavalier Mics

• Lavalier (lapel or lap) mics are usually attached to

the subject's clothing using a specialized clip. Obviously the preferred position is on the lapel or

• thereabouts. This provides consistent close‐range

sound pickup and is ideal for interview situations in which each participant has their own mic. It also means the subject doesn't have to worry about mic technique.

Boom Mics

• The boom microphone is very popular in film and television
• production. A directional mic is mounted on a boom arm and

positioned just out of camera frame, as shown on the right. The cable is wrapped once or twice around the boom arm.

• Booms have the advantage of freeing up subjects from having

to worry about microphones. They can move freely without disturbing the sound, and concerns about microphone technique are eliminated.

There’s much more to say …

• Sound mixers
• Sound quality
• Connections
• Balanced Audio
• Noise types and colors

Credits to mediacollege.com

Radio Ads: How to make them perfect

Credits to www.voices.com

Radio Ad Styles

• First, you'll need to determine the style of your radio
• ad. The radio ad “sell” refers to the kind of approach

that you'll use to promote a product or service to the listeners of the radio station.

• The effectiveness of each type of radio commercial

“sell” depends on the kind of product or service being advertised and the personality of the target audience.

• The three basic “sells” for radio advertising are

the hard, the medium, and the soft sell.

Selling with the Voice

• In voice acting, your voice is one of the most

persuasive tools you could ask for to drive home a message and demonstrate who your character is.

• You can use your voice in the following three ways to

help someone believe your character and entice the audience to buy into what you’re saying, which may include having them buy a product, service, concept,

• r idea.

Soft Sell 1/3

• The soft approach is suggestive and persuasive

without directly asking for the business.

• Presents the ask as more of an invitation than a

direct order.

• Often targets women, can also be used to men.
• Soft sells don’t push the listener and often appeal

more to the intellect and emotions.

• Consider the soft sell to be more like an option,

but a smart option.

Soft Sell 2/3

• Empowers people to make a decision without hitting

them over the head.

• Musical selections used in commercials with a soft

sell are generally pleasant, depending on the content

• f the script.
• A friendly, conversational tone works best for the

majority of soft sells. That being said, authoritative reads can also be used. Examples making use of the soft sell approach are commercials for soap, diapers, and yogurt.

Soft Sell 3/3

• If the target audience is made up of educated or
• lder people, the soft sell method is a better option.
• This method is more subtle and refined, and it

appeals to the mind and imagination of the listeners.

• Soft sell commercials are usually more informative

and entertaining.

Going halfway: The Medium Sell 1/2

• When reading for a medium sell, you’re asking for

the business but not in a forceful or abrupt way.

• These commercials have a more upbeat, lively, and

entertaining composition.

• Excitement, discovery, and family themes permeate

this category of sell.

• Music varies but is invariably fun. The medium sell
• ften targets families, but it also reaches out to

young adults and kids.

Going halfway: The Medium Sell 2/2

• A medium sell may remind people of why they love a

brand and sell new people on the feeling it brings.

• Speaking in a conversational manner and using

humor are elements of this sell.

• Remember that you’re talking to someone in a

comfortable way but still asking for the business.

• Can often be heard in commercials for restaurants

promoting a special or new item or hotels inviting you to book your vacation with them.

Hard Sell 1/3

• The hard sell takes no prisoners and demands the
• business. The hard sell has a sense of urgency unlike

any of the other sells.

• It’s go‐big or go‐home time. The hard sell is generally

associated with limited‐time offers, and the target market is typically, but not exclusively, male.

• The music is upbeat if not rocking and helps take the

ask (the company’s pitch) up to another level.

Hard Sell 2/3

• Your voice may take on hard hitting attributes, such

as a different tone of voice (think gruff, booming), although you’re always full of confidence.

• Although not entirely pushy, the hard sell needs to

be aggressive and assertive.

• Hard sells are frequently employed in television

infomercials, pitches by big box stores, beer commercials for or at sporting events, and marketing for car dealerships.

Hard Sell 3/3

• The hard sell method is used to make a radio

commercial more appealing to the listeners’ emotions.

• Effective way to reach out to younger people or

those who are emotionally affected by certain

• problems. Most people can be easily swayed by

emotions, and they will become more interested in a product if the commercial appeals to their emotional needs.

• The voice talent is particularly important in the

presentation of a hard sell commercial.

Radio Ad Duration

• Most of the commercials aired on radio last for a

duration of 15 seconds to 60 seconds.

• The advertiser has to make sure the intended

message will be comfortably conveyed within the chosen time period.

• The message has to be able to grab the attention of

the listener, who is usually doing something else while the radio is playing.

• The message has to be concise and easy to

remember.

15 Seconds

• A 15‐second radio commercial only allows the

advertiser to provide very basic information about the business, such as the name of the business, its products or services, and contact details.

• This type of commercial is effective if the audience is

already aware of the existence of the business, and they have probably even tried its products or services.

30 Seconds

• If the advertiser wants to include some sales flair in

the commercial, the 30‐second commercial is a good

• ption.
• With 30 seconds, commercial scripts can be written

in a more creative manner. They can be presented as monologues or conversations, and can include more details about the businesses they are promoting, such as: experience, the benefits of its products, and unique selling points.

60 Seconds

• Most of the traditional radio ads are 60 second long,

and offer enough time to do a complete sales pitch.

• This type of commercial is the preferred method for

promoting a new product or service.

• The advertiser can make the commercial more

compelling by introducing an engaging headline, identifying a problem, providing a solution, and

• ffering dramatic assurance.

Reading Speed Guidelines for Radio Ads

Reading Speed

• Average person reads 3 words per second (range is 2

to 4)

• Average person reads 88 words per half‐minute

(range is 60 to 120)

• Average person reads 170 words per minute (range is

135 to 215)

Line Count

(12 point Arial, double‐spaced, margin‐to‐margin)

• Average 21 lines per page
• Average number of lines per 30‐second spot: 7.5
• Average number of lines per 60‐second spot: 15

Word Count

(12 point Arial, double‐spaced, margin‐to‐margin)

• Average words per line of text: 13 (range is 8 to 18)
• Average words per page: 273 (range is 168 to 378)

Aim For 80 Words or Less for a 30 Second Spot

• When you listen to the radio, you're likely to be in a vehicle

facing numerous distractions and performing actions like catching a green light, stopping for pedestrians, and checking your mirrors. What do you remember from a radio ad?

• Amid all the distractions, whether in a car or not, it is

increasingly difficult to remember every word that is said in a radio commercial.

• This is why experts are encouraging advertising agencies to

limit their commercial copy (script) to 80 words or less in

• rder to convey their message.

What are the benefits of less words in a commercial?

• 1. A more moderately paced voice‐over
• 2. More concise copy
• 3. Higher percentage of listeners who retain your

message

Exercise: Try it out yourself!

• Please listen carefully to the following radio ad.
• When finished, write down the text word by word, or

at least the words that are most important and best convey the theme and call for action of the commercial.

• Automotive Hard Sell by Brian Kirchoff

Group Exercise: Determine your Keywords

• You should now be able to jot down keywords ‐

basically, the words that are most important and best convey the theme and call for action of your commercial.

• Take those words, form your copy around them, and

be sure that each word is relevant to your script. 30 seconds is not a long time to get in 80 words, so they should better be the words that count.

The Production Process

The Production Process

• The production process refers to the stages (phases)

required to complete a media product, from the idea to the final master copy.

• The process can apply to any type of media

production including film, video, television and audio recording.

• The stages in each medium vary; for example, there

is obviously no storyboard in an audio recording. However the same general concepts work for any medium.

The Production Process

The three main stages of production are:

• 1. Pre‐production: Planning, scripting &

storyboarding, etc.

• 2. Production: The actual shooting/recording.
• 3. Post‐production: Everything between production

and creating the final master copy.

The Production Process

Other stages include:

• Financing: This happens before pre‐production, and

involves budget forecasting, finding investors, etc.

• Screenplay: This can be considered a separate stage

before pre‐production.

• Distribution: After post‐production, delivering the

content to the audience (e.g. film prints, CD/DVD, etc.); also called deliverables.

Pre‐production

• Pre‐production is a fairly loose term which refers to

the tasks undertaken before production begins. Exactly what is included in this stage depends on the medium and situation.

• For a small video company, pre‐production may refer

to everything that happens before shooting begins, for example, meeting with the client, research, storyboarding, location planning, etc.

Pre‐production

For feature films, pre‐production is more specific and

• nly begins when other milestones have been met such

as financing, screenplay, casting and major staffing:

– Location scouting – Prop and wardrobe identification and preparation – Special effects identification and preparation – Production schedule – Set construction – Script‐locking (semi‐finalization of the script) – Script read‐through with cast, director and

• ther interested parties

Production

• In film and video, production refers to the part of the process

in which footage is recorded. This is what most people imagine when they think of a film being made — actors on sets, cameras rolling, etc. The production phase is also known as principal photography.

• In large feature films the beginning of the production phase

marks the "point of no return", i.e. the point at which it is no longer financially viable to cancel the project. At this point it is almost always cheaper to continue until the project is finished than to deal with the financial fall‐out

• f canceling.

Production

• The goal of principal photography is obviously to record all

required shots, however it is fairly common to shoot "pick‐up" shots in post‐production. Pick‐up shots may be required when a mistake is noticed, a script change is made (this is unusual),

• r even if a performance is deemed to be unsatisfactory.
• In music, production usually refers to the creative direction of

a project. Unlike a film producer who is more of a manager, a music producer has a very hands‐on role in the creative development.

Post‐production (in short: Post)

There are many things which can happen in post‐production. Common tasks include:

– Editing video footage – Editing the soundtrack, adding sound effects, music, etc. – Adding titles and graphics – Colour and exposure correction – Adding special effects – Re‐shooting certain scenes if required ("pick‐up" shots)

• In some cases post‐production is relatively straightforward,

consisting of choosing and arranging footage in the correct

• sequence. In most cases however, post‐production is

a time‐consuming job taking longer than the actual production phase.

Now it’s time for Idea Generation.

Let’s turn to your project.

Thank you for your attention.