(MP3004) Creative Writing Log 16/01/09

Right then, this will be my last blog entry for a couple of weeks as I'm off to india to recharge my batteries. Paul Dodgson (radio expert) came to Artswork to give us a lecture on producing radio plays.We record on the 19-20th of Jan. I will be away when the group record but as my role is that of Editor so my absence is not an issue. In fact it can be an advantage to come on to a project with a fresh pair of ears. Paul gave us these tips when considering radio plays:
90% of the success of a radio play can be dependent upon casting
There various ways to record effects. Lots like to record as many spot effects as possible during recording with actors or production staff or record totally dry and add effects in post.
Radio drama sounds at its best when there’s physicality to the acting in a play. It makes it more believable.
Try to record chronologically record over two days and keep actors on hand during these times.
The first thing to do is to read through script with actors just before we go into production.
Allocate an hour for the read through at start of day 1 and let them read through with out any direction.
It helps to have the writer on hand to answer questions that may arise. They can be a useful sounding board.
Map out a schedule for recording scenes perhaps even two hours per scene. In order to deal with the page turning noise decide if you want to record whole scene or break it in to chunks. Also actors only hold script from the scene they’re recording. Thicker paper can also cut down on noise as its less rustley.
It can be beneficial not to rehearse in advance as a read through can act as the same thing. Try not to have pre-conceived ideas as to what the play should sound like. Keep an open mind and let the actors do their thing. It is advantageous to schedule a break after a read though but bear in mind actors find it difficult to take direction from more than one person.
Team involved in recording are studio manager, broadcast assistant, Director / Producer. When spot effecting use same mic as actor and when monitoring do a dry take as well as a wet take. The voice though is very different when it’s behind a loud sound. Actors need to pitch up or adapt to location or environment.