Recording/Imaging Plan

Scene 1
Equipment:
Archie - Neumann U87 set to cardioid pick up pattern.

Scene 1 (Note Archie is in the center of image not slightly to the right)

Archie is in an airport looking at flights, the dialogue is his thoughts so the backing ambient track will be filtered. Also the performer should be positioned as close as possible to the microphone to give us the desired intimacy of thought.

Scene 2
Equipment:
Archie - Neumann U87 set to cardioid
Chrissie - Neumann U87 set to cardioid
Alan - AKG 414 set to cardioid
Carrie - AKG 414 set to cardioid

Props:
Table
Chairs
Cups

Scene 2 Burger King 

The whole family are having a meal in a burger bar in the train station. This scene will be recorded with the actors sitting behind one or two tables in a line with the microphones positioned at the opposite end of the table. The microphones will be roughly arms length from the performers. The desired stereo image will be created within Pro Tools during the mix-down.

Scene 3
Equipment:
Archie - Neumann U87 set to cardioid
Chrissie - Neumann U87 set to cardioid
Shop worker - AKG 414 set to cardioid

Scene 3 WH Smith

For the scene in the shop we will record the performers positioned roughly arms length from the microphone. All imaging will be dealt with in post production when the addition of shop ambiance, beeps and bag packing noises will also be added.

Scene 4
Equipment:
Archie - Neumann U87 set to cardioid
Chrissie - Neumann U87 set to cardioid

Scene 4 Platform

Chrissie will be in the center of the image during this scene, Archie will be pacing along the platform (not too far off the center of the image). Archie's footsteps will be added in during post production.

Scene 5
Equipment:
Archie - Neumann U87 set to cardioid
Chrissie - Neumann U87 set to cardioid

Conductor - AKG 414

Props:
Chairs
Wallet

Scene 5 On Train

Archie and Chrissie will be recorded sitting down, actors could perform the actions required (reading of the newspaper/taking out the wallet) as it could have an impact on their dialogue and help keep the play as natural as possible. In order to keep the naturalness of the sound of the conductor moving up the carriage we will place a mic in the center of the studio and have the performer approach it addlibbing. It would also be wise to record the performer adlibbing from a normal mic position as well just in case we need it for post production.

Scene 6
Equipment:
Archie - Neumann U87 set to cardioid
Chrissie - Neumann U87 set to cardioid

Props:
Chairs
Newspaper

The actors will be recorded seated as the two characters are, the actor playing Archie could be flicking through a newspaper as he is performing. The tannoy announcement can be the train driver as opposed to the automated voice I originally planned to use; this way one of the group can take this role as opposed to finding someone with a similar voice to the recording. Once recorded the voice should be filtered through a high pass and a low pass filter to make it sound like its coming from a speaker.
*See scene 7 for a visual reference of this scene.

Scene 7
Equipment:
Archie - Neumann U87 set to cardioid
Chrissie - Neumann U87 set to cardioid
Train Worker - AKG 414

Props:
Chairs
Table
Trolley

Scene 7 On board (Note: Scene 6 is identical apart from Archie and Chrissie are the center of the image and the train worker is not in this scene)

As with the previous scenes the actors will be filmed sat down.To keep the play sounding natural, we will record the train worker pushing a trolley up towards the microphone as if he was walking up the carriage. The sound of the tea getting poured will be added during post production.

Scene 8
Equipment:
Archie - Neumann U87
Security guard - Neumann U87
Airport worker - Neumann

Scene 8 Airport Archie is in center of image at all times. (Image follows him as he walks to the desk after talking to the security guard.)

As with scene 1, Archie should be recorded close to the microphone to help portray his dialogue as thought. At this point the ambiance will also be filtered  As the security guard begins to talk the filters should gradually be removed to give the impression we are now dealing with the real world again. When the actor performs Archies response to the security guard he should take position at arms length from the microphone. All footsteps in this scene will be added during post production.

Research- Mic Positions and Point of Listening/Audition

Mic Positions

The distance the performer is from the microphone during recording can have an effect on the intimacy of the sound. Here are some positioning tips from the Savoy Hill website (which seems quite a useful tool for radio drama):

1. Closest to the microphone (as close as possible - beware of blasting and popping) - used for: monologue & voice in the mind.

2. Intimate conversation (a step away from position no 1). 

3. Conversation (stand far away enough from the microphone so that your outstretched fist is level with it) - MOST RADIO DRAMA DIALOGUE HAPPENS IN POSITION THREE

NOTE: SHIFT from POSITION THREE to POSITION TWO, and back again. This demands technical acting skill. It must fit with the dialogue situation - the intimate climax of a scene?, telling a secret?, wanting to move to an objective.

4. Across the 'room' (to 10 feet away) - opens out the dialogue to a larger space & making an approach 'through the door' to characters in POSITION 3.

Savoy Hill. No Date. Microphone positions - five in total - from closest to moves off. [online]. Available from: http://www.savoyhill.co.uk/technique/micropositions.html [Accessed 24 March 2013].

Point of listening

Here is a link to information on point of listening/audition. Due to the nature of our drama we don't really need to worry about clever use of point of audition to tell the story; our story will be heard from a fly on the wall point of audition throughout, apart from the scenes at the airport when archie is thinkng.

I have drawn up a rough sketch of the points of audition which will be updated and put in with the recording plan.

http://www.savoyhill.co.uk/pointoflistening/pointoflistening.htm

Savoy Hill. No Date. Point-of-listening in radio plays.[online]. Available from: http://www.savoyhill.co.uk/pointoflistening/pointoflistening.htm [Accessed 23 March].

Pro Tools Metering

Here are some pages I found on metering within Pro Tools:
http://www.protoolsisawesome.com/?p=47
http://www.protoolsisawesome.com/?p=65
http://www.protoolsproduction.com/readingsignals/

Pro Tools uses the dBfs scale on its meters, which are no use to us when it comes to mastering. We need to obtain a PPM meter plugin (one that complies with BBC standards).

I have come accross some PPM software: http://www.darkwooddesigns.co.uk/pc2/meters.html, the main problem with this is it is not a plugin and seems to measure input signals and also 'what you hear' computer output signals. With some clever routing we could possibly use this software, though I think we should try and locate something more suitable.

Update 30/04/13
I have come across a page from the BBC that offers PPM meter download: http://www.bbc.co.uk/opensource/projects/baptools/

There are also other plugins recommended some of which come with a free trial, which would be perfect for us:
Zplane PPMulator: http://www.zplane.de/products/plugins/ppmulator

'Mastering' Research

Mastering for Radio is very important, But then, We know what mastering is but is that its correct term when referring to Radio programs?

According to the BBC, IPS and other sources, No.

The BBC refer to this as "Balancing for Radio" whereas other simply call it "Mixing for Radio"

Since it is the BBC Technical Specifications we are aiming towards for-filling, we shall go by the term "Balancing".

Whilst there is not much information on how programs should be balanced there are a few things to take into consideration before putting forward your pilot program to the BBC.

The BBC has different requirements for each of its Radio stations. We are making sure we meet the criteria for BBC Radio 4. Here are the Basics of what we need to meet Technical Standard wise:

1. File Format must be 44.1 KHz, 16 bit Linear .Wav File
2. Can be delivered as a .wav OR .flac file to the BBC Radio FTP (Since we are working using independent facilities)(Also theoretically speaking, Not Applicable to us)
3. We are not required to have a Back Up Medium
4. We are not required to provide a Broadcast or Reference tone.

Additionally the following should also be noted and included:

• Any Unusual or Technical quality issues must be noted down on a Recording Report and included in the presentation details (If Applicable)
• Pictures, Photo's and images must be included for online, interactive and publicity (If Agreed)
• Any paperwork that is applicable (Stated on the Delivery Requirements Document 2008)

The document can be found at this Link.

In terms of Audio Levels, the program must not peak over 6PPM. This is equivalent to -10dBFS.

For audio quality this has been left as the producers responsibility. Consistence in levels and quality is essential and as stated in the BBC technical guidelines the importance of this "cannot be over-stressed". Any distortion, noise or other unwanted sound must not be audible on the production. The reference to this information can be found Here.

During my research, I also came across some old Balancing documents from the BBC.
Although now outdated, I feel they are relevant to show how the BBC wanted audio then, and now.
These documents are not lengthy, they provide a clear guideline as to what they wanted in a clear and sensible fashion without any Jargon or Over-Professionalism in writing and make things like listening environments and levels clear.

BBC Balance General Guidelines

BBC R4 Balance Guidelines

So how about the way we Balance the program? Should we compress this like we would for a CD?

Simple answer? No, There is no need and can give an undesired effect on the Audio.
Some subtle Multi-band compression could help with the sound.

The problem is many people try to master it to sound "Radio Ready". Surely if that's what we wanted we'd just throw an EQ on it and remove the low and top end? No, Of course not!

The best way of getting your desired sound is mixing it and compressing it to how you like it, Don't over limit it or attempt to enter the loudness war.

Here's a quote from Bob Katz book 'Mastering Audio' which i believe sums things up perfectly.

"What these radio mixes should not have is fast digital Limiting and clipping. Leave the short-term envelopes unsquashed. Let the broadcast processor do its work. The result will be just as loud on-air as hypercompressed material, but will have far much punch, clarity, and life"

This research has certainly opened my mind on how to 'Balance' our radio program.

Now to put the theory to practice.

Campbell Logan.

History of Radio Drama Research 

Useful web page detailing how sound effects were produced in 1920's.

http://www.irdp.co.uk/britrad.htm

Useful website showing a timeline involving the key points throughout the evolution of radio production.

http://www.longwharf.org/sister-george-history-radio

More detailed timeline of the history of radio.

http://www3.northern.edu/wild/th100/radio.htm

Production Research

Directing

Responsibilities of the director include;

Ensuring the script is ready for performance, including -

·         Every aspect of the script must “serve effective dramatic purpose”

·         Characters serve their dramatic purpose

·         Dialogue is “representative of spoken English in dramatic communication”

(Crook 1999, p.236-237)

“Inspire your actors to establish and express life, understanding and belief in every word” of the script. (Crook 1999, p.240)

Keep a professional standard at all time

Crook, T. 1999. Radio Drama Theory and Practice. Routledge. New York.

Recording Technique

The microphones I have been considering are:

• AKG 414b 
• Neumann U87 
• Sure SM58

Whilst the dynamic 58 will not pick up pops, clicks and sibilance as clearly and plosives may not be as pronounced, the Neumann and AKG mics are high quality, all purpose condensers and in the interest of getting the best, clearest possible recordings I believe they are the correct mics for us to use. Poor mic techniques from the actors will be corrected by the director and recording engineer to minimize the aforementioned problems.

In the interest of keeping the tonality of the characters voices constant throughout the finished drama, we must make sure characters use the same microphone throughout recording. This should not be a problem as the maximum number of characters we have in a scene at one time is 4 and there will be two pairs of mics.

If possible, scenes will be recorded with all cast present. While we can record cast individually and edit stems together during post production, cast will not be able to 'bounce' off each other during recording and we may lose some of the naturalness of the performances.

In order to gain maximum control during post production, we will be recording our cast on individual tracks as opposed to having them all perform into a centered microphone (fixed source). This will give us greater control when it comes to stereo positioning  of our drama, as well as using EQ and compression, which would be problematic if all the actors were recorded on one track. Baffle boards may also be used, though spill can be cleaned up during editing.

Rehearsal

The issues we are having with casting are leaving us with little time for rehearsals. Fortunately, we can still use the rehearse record method. This method involves breaking the production into scenes (possibly segmenting longer scenes) and rehearsing a number of times before recording.This method may have advantages; it is useful for a cast who have not had much time to rehearse together and the scene will be fresh in the actors head (particularly useful if the actors are inexperienced and not used to remembering lines).

Ambiance tracks will be recorded at suitable locations, SFX to be recorded on location and within the studio.

Useful Links

• http://messageboard.tapeop.com/viewtopic.php?printertopic=1&t=74799&postdays=0&postorder=asc&start=0&finish_rel=-10000
• http://www.savoyhill.co.uk/technique/rehearserecord.html
• http://www.savoyhill.co.uk/technique/techniques-total.html#anchor200059

Casting

Following a discussion with a member of the class I was put into contact with an acting group on Facebook. I had received a couple of replies from people interested in playing the part of Archie. A George Carson and an Ian Watt. They both have quite a lot of experience playing small roles and extras. As George Carson was first to respond he was offered the part before Mr Watt got in touch. As travel expences will probably need to be paid, it is an advantege he is closer. He also offered to try and fill the role of Chrissie for us.

George Carson: https://www.facebook.com/george.carson.79?fref=ts

Ian Watt: http://ianblairwatt.webplus.net/