TECHNOLOGIES

This year was the fist time I had entered a radio studio and on doing so as part of this project, I adapted the role of sound man whilst recording. Although all of my group members were aware of how to lead the recoding stage, I basically did most of the time. The select few sections of the Sound Track Pro software which mattered to get everything recorded basically consisted of the start, stop, pause and record button so it wasn’t very hard. It took a bit longer for me to grasp the editing stage and the other two group members to part in more editing than I did.

All this really included was the use of the mouse to highlightthe section of sound desired, then clicking the 'slice' tool to section off the desired area of sound, and then selecting the 'mouse icon' again to then select the desired area to backspace or cut away. I learnt that slicing the sound recordings divided the overall recordings, but altering the sizes of each section of sound by dragging or stretching the area of sound simply extended or decrease the amount of time that each sound was heard. I did this when I wanted to have two different areas of sound/recording t o play at the same time or over each other or when fitting a certain sound which was on a different track within a chosen amount of space or timing. Overlapping sounds on different tracks was done using this process, but in terms of overlapping sound on the same track, selecting the section with the mouse and literally dragging and placing it over another section of sound also did the same trick.

Once I got the hang of it, editing was not complicated at all however with all our extra hours of recording blunders and ‘just in case’ dialogue – I am glad that I kept breaking up the recordings by stopping and starting regularly. Even though we didn’t think to number the recordings straight away as we went along, this made finding specific bits much easier.

Adding sound effects used the same program, however differs as one would then choose multi-purpose-program instead of new project as this selection allows the multifaceted use of programs in one program – cutting down the amount of different programs opened on screen and improving efficiency. Recording, editing and adding sound clips can be done all at the same time, but this was a bigger challenge for me. The other two members of the group handled this while I assisted in listening back to each bit of progress to alter volume and overall conceivability of each effect.

Adding new sound effects to a new track made it much easier to manoeuvre the sound effects around the already edited and placed recordings as too much moving around of the edited recoding sections understandably disrupted the way the end result all sounded. This is because each sound clip also took up space as the recordings did when place onto the recoding strip (or space where the recording appeared), although it was also possible to extend, overlap or stretch the sound clips so they played over or a recording section or at the same time. I also learned that we could also copy a section of or each recording and keep pasting it so the sound clip played as a longer continuous sound if we wanted it to be this way.

For my radio drama advert, I used Adobe Photoshop to complete the whole thing. I have previously used this software so I was aware of how it was formatted and all the tools. This helped me to efficiently create a realistic manipulation of three separate pictures, which I bought together to create my final poster. My double page spread of a Radio Times listings schedule was created using In Design. This was also a software i had previously used, making it easy for me to make my finished product appear as close to the examples that i based the production on.

After our audience feedback was gathered, we manually recoded new sounds and I took the opportunity to be more hands on with the editing and addition of sound effects to get the later refined and final version of our radio drama.

Not only dod I take part in actually making/doing the specific sound effects which included the same process as before, and simply pressing the record button before and after making whatever sounds into the microphone. Saving them as individual files however was as follows.

Each sound clip had to be selected one at a time, by clicking on it, highlighting it in darker green as it normally did when clicked on. Then clicking the ‘Process’ tab at the top of the software to then select ‘Naturalize’ allowed for the true likeness of the sound ready for when it would be used as a sound clip.

Next I had to click ‘File’, then scroll down to ‘Export’, when the next window would pop up and I named the recording as whatever it was (strugulation sounds = strangulation) and as long as the 3 boxes were ticked at the bottom, this allowed all the audio files/information to be saved so that on moving the new saved file/sound clip to my newly created ‘Master’ folder, each sound could be dragged straight onto the track in the radio drama recoding as the other existing sound clips could be used. Ultimately this was the transformation from recoding to sound clip, which was saved in my ‘Master’ folder and dragged over onto USB which got dragged into place as we carried on refining the radio drama at the end.

Doublepage Radio Listings

This is the end result of my double page radio listings. Using old versions of radio listings, as well as a direct reference to the layout used in the Radio Times’ radio listings section, I feel my final version stands as a convincing example of the one in which ‘The Unseen’ would be listed.

Using InDesign, I chose a custom paper setting that changed the standard selection to A3 and landscape. I opened a black page which I then found the half way measurement at 48 cm. This would be the guideline for half way. Always looking at my scanned radio times sheets and old photocopy of a radio listings double spread, I selected text boxes and typed in appropriate information. In the end the most difficult part was getting the proportion of he text boxes to match that of the ones I was basing my version on. I tried to be as accurate as possible as this helped when fitting all the boxes into the required half of the a3 page, meanwhile still including spacing around each box which really existed as each column of text. The most time consuming part was altering the text from regular to italics, or bold. Also sizing and spacing issues came into it as I was trying to fit everything I had typed, within the boxes.

THE UNSEEN... the end result

"I TRIED DRAGGING THE AUDIO OF MY RADIO DRAMA BUT IT WASN'T ACTUALLY WORKING.. I' M REALLY NOT TOO GOOD WITH THIS SOUND STUFF SO .. YH"

WEEK 16 - P.D

It is the due date for this assignment and I have completed my double page radio listings pages. I was also able to complete the adding and reediting as part of coming back to the radio drama, using the audience feedback to tweek the unrefined issues which were brought to my group's attention. The whole project as a whole was completed succesfully! :D

Week 15 - P.D

I’ve now started my double page radio listings by creating the format for a double page spread, and proceeding to gradually fill I in with typical information on listed programs fro the appropriate stations.

WEEK 14 - P.D

At this point we are still refining the radio drama especially after gaining the useful information from the listening party in which we received the audience’s feedback. Meanwhile I began getting photocopies of old radio times listings to base my own version of the radio listings in which my media product would be scheduled into.

WEEK 12 - P.D

I actually began producing my radio drama advert using Adobe Photoshop. As I was familiar with this software, figuring out the initial idea to illustrate was the longest part. Physically only taking a whole 2 lessons and some extra time refining colour levels of the background, and fonts for the title and tagline for instance. I think in comparison to the other group members was not only did I not draw mine out manually but I also didn’t need to take fresh photographs either – this was extremely quicker. The completed version was saved and I need to eventually post this to my blog.

WEEK 10 - PRODUCTION DIARY

My group members and I attended a listening party, which gave thee opportunity to receive and gather audience feedback. It was a chance to find out what improvements cold b made to our drama which was still under construction anyway. When received, the data was very useful.

WEEK 9 - P.D

The holiday has passed, and my other two group members did some more editing and added the majority of the sound effects in my absence. On listening back to our huge progress yet unfinished piece, it was obvious we needed specific sound effects to complete our drama… running out of time though!

Now nearing the end of the project, we were asked to create an advert for our radio drama. I attempted looking for examples of radio drama ads within our particular genre via the internet but didn’t have much success with this. Perhaps looking at books from the library would have been of better reference for me. On the other hand, I new I wanted to display a poster-like image, similar to that of the film industry but a simplified version as this is radio drama. Even though I agreed this was the main visual - giving the audience some imagery to base our radio piece on, it couldn’t be too centred on a visual as the main element was the acting and sound. I actually thought to either draw the whole thing out my self (as jus line), and then scan it into Photoshop to colour in, or use already existing imagery that I could easily use heavy editing techniques to get the finished look.

WEEK 5 - P.D

No recording was taking place in the absence of the ‘Carlos’ part meaning we had to find a capable replacement. He was found to act the part of Carlos and recoding commenced. Editing and the adding of sound effects also continued as we are now a little strapped for time.

week 4 - PRODUCTION DIARY

Still continuing discussions of which sound effects would go where. We carried on sharing our own suggestions that were jotted down outside the lessons. As far as recoding, we already have so much recorded audio, that we have started editing, yet the drama is still not complete. Working with friends tends to be a little distracting at times; it would be really helpful if one of our main characters didn’t drop out unexpectedly. We are back to the drawing board for out ‘Carlos’ character, and the holiday is coming up so we have to make a greater effort to complete recording either within or right after the holiday, so effects can finally be added.

week 3 - PRODUCTION DIARY

Our group continued discussing which sound effects; shared our own ideas as well as agreeing which would go where. Generally the script was finished, we just continued refining the effects and we were able to begin recording! Casting our drama was easier than I thought; close friends helped out and lent their very suitable acting and voice skills.

week 2 - PRODUCTION DIARY

To my surprise, the first draft has been completed; typed up in radio drama style and everything – courtesy of group member, Sammie. We read the script together and carried on making refinements, but also started to think about sound effects to fit the moods we were agreeing on. We all agreed to pencil in any ideas in our own time, ready for next week.

Week 1 - PRODUCTION DIARY

(week 1 and weeks prior to physical production of radio drama)

Group sat down together and physically brainstormed what ideas we had towards the radio drama. We came to the conclusion that doing a Horror or Thriller genre would make it easier to finds more imaginative ideas.

We as a group decided to produce a pschychotic tragic thriller; we came up with main characters as well as the minor characters but didn’t feel it was necessary to have too many people involved in the story. We also able to decide on certain technical details which would help structure the story and make it more interesting for the listener to follow.
Based on the rough idea of the story(which pretty much consists of a man from the main character’s past, who’s obsession with her begins with stalking ad general scary intervals, then ends up finishing with a couple of gruesome murders.
Elements that were included to make sure the it reverted directly back to it’s genre were as follows:
A twist in the plot line that revealed a red herring as the murder
A metaphor for the killer’s identity which was mirrored within an element of the story
A relationship between the victim and main victim killer a


Our group looked over the initial ideas for the previous week and refined everything in order to begin working on the script. The overall storyline was prepared, and as a group we were able to come up with the very specific detailed ideas for example, an emotional monologue spoken by one of the characters in the very beginning. Next week we hope to bring each ideas to the table towards dialogue for the script.

Radio As a Media

Radio waves are a type of electromagnetic radiation (also referred to as E-M radiation or EMR) which takes the form of self-mobilizing waves in matter) with wavelengths in the electromagnetic spectrum (the range of all possible frequencies of electromagnetic radiation). These wavelengths are longer than infrared light and invisible to the human eye. They help transmit information, conversations, music, and images through the air. Astronomical objects or lightning naturally cause the creation of radio waves. However artificially produced radio waves are help the stationary and travelling modes f radio broadcasting, communication, and other navigation systems, and other applications.

Today we frequently use radio waves. The transmitting and receiving of waves as that occurs as we take part in the thousands of ways and technologies in everyday life, ultimately help us to communicate with each other.
Listed below are a few familiar things that depend on radio waves:
AM and FM radio broadcasts
Cordless phones

Radio-controlled toys
Microwaves
Garage door openers
Wireless networks
Mobile phones
GPS receivers and navigation satellites
(Satellite communications)
Wireless clocks
Television broadcasts
Police radios
Baby Monitors

Radio's prehistory and Timeline

1820: Hans Christian Orsted discovered the relationship between electricity and magnetism in a very simple experiment. He demonstrated that a wire carrying a current was able to deflect a magnetized compass needle.
1831: Michael Faraday began a series of experiments in which he discovered electromagnetic induction. The relation was mathematically modelled by Faraday's law, which subsequently became one of the four Maxwell equations. Faraday proposed that electromagnetic forces extended into the empty space around the conductor, but did not complete his work involving that proposal.
1861 1865: James Clerk Maxwell made experiments with electromagnetic waves.
July 30, 1872: Mahlon Loomis was issued U.S. Patent 129,971.
1873: Maxwell, as a result of experiments, first described the theoretical basis of the propagation of electromagnetic waves in his paper to the Royal Society A Dynamical Theory of the Electromagnetic Field.
28 November 1875: Thomas Edison announced to the press that while experimenting with the telegraph, he had noted a phenomenon that he termed "etheric force". He abandoned this research when Elihu Thomson, among others, ridiculed the idea.
1878: David E. Hughes was the first to transmit and receive radio waves when he noticed that his induction balance caused noise in the receiver of his homemade telephone.
1880: David Hughes demonstrated his discovery to the Royal Society, but was told it was merely induction.
1884: Temistocle Calzecchi-Onesti at Fermo in Italy invented a tube filled with iron filings, called a coherer.
1884 to 1886: Edouard Branly of France produced an improved version of the coherer.
1885: Edison took out a patent on a system of radio communication between ships, which he then sold to Guglielmo Marconi.
1887 erimental setup of Hertz's apparatus.
1886 to 1888: Heinrich Rudolf Hertz validated Maxwell's theory through experiment. He demonstrated that radio radiation had all the properties of waves (now called Hertzian waves), and discovered that the electromagnetic equations could be reformulated into a partial differential equation called the wave equation.
1885 to1892: Murray, Kentucky farmer Nathan Stubblefield apparently invented radio, but his devices seem to have worked by induction transmission rather than radio transmission.
1893 to 1894 a Brazilian priest and scientist Roberto Landell de Moura, began his experiments by this year, then came to the UK in 1896 and performed illustrations in London at the General Post Office Building of how his pieces work. He did not publicize his achievement until 1900.
After the opening of the world’s first radio factory in Chelmsford in1898, and the discovery that transmissions could be made over water. Radio just carried on developing until December 1898, saw communication installed up between Queen Victoria’s Royal yacht, off Cowes and Osborne House, where she got regular updates via radio waves.

Marconi made further progress with wireless transmission - a wireless can be tuned to a specific frequency, to remove all other transmissions except the desired one. On 26th April 1900 this idea was patented under the name of ‘Tuned Syntonic Telegraphy’ demand for his product increased, and with it, the number of lives being saved at sea. A famous example is the famous sinking of Titanic - Marconi wireless signalled from the ship, brought help and save a huge amount of passengers.

Not only do the contemporary kind look physically different, the in size and component that form its construction (as demonstrated by the image of a currently high-end transmitter and receiver, Transmitters back in the 19th century could go no higher that 10watts output power and the receivers were mostly crystal sets; extremely insensitive and unselective. A lengthy aerial was needed to work properly and they were connected to a pair of headphones – talk about old school!

Below, An early Marconi transmitter

All radios today, use continuous sine waves to transmit audio, video and data. We use continuous sine waves today because there are so many different people and devices that want to use radio waves at the same time. If you had some way to see them, you would find that there are many varying radio waves (as sine waves) around us.

Radio signal use different sine wave frequencies which some as two parts:
· The transmitter
· The receiver
The transmitter takes some sort of message (it could be the sound of someone's voice, pictures for a TV set, data for a radio modem or whatever), encodes it onto a sine wave and transmits it with radio waves. The receiver receives the radio waves and decodes the message from the sine wave it receives. Both the transmitter and receiver use antennas to radiate and capture the radio signal. Real life examples include a mobile phone.
A typical mobile phone contains both a transmitter and a receiver, and both operate simultaneously on different frequencies. A cell phone communicates with a cell phone tower and can transmit 2 or 3 miles (3-5 km).

To create a simple radio transmitter, what you want to do is create a rapidly changing electric current in a wire. You can do that by rapidly connecting and disconnecting a battery, like this:
When you connect the battery, the voltage in the wire is 1.5 volts, and when you disconnect it, the voltage is zero volts. By connecting and disconnecting a battery quickly, you create a square wave that fluctuates between 0 and 1.5 volts.

A better way is to create a continuously varying electric current in a wire. The simplest (and smoothest) form of a continuously varying wave is a sine wave like the one shown below:

A sine wave fluctuates smoothly between, for example,10 volts and -10 volts.

GENRE

The term genre refers to a category or class which a creative composition can be classed under. This includes that within art, music and literature which are determined by a specific style, form or content.

The genre in which our radio drama is classed is a Tragic Thriller but sub genres of this category also include drama thriller, this means the story consists of the elements within a thriller genre as well as the drama film style. These films tend to involve a slower rhythm of activity and deal with the in depth study of the character’s personality. Plot twists and red herrings seen as part of both styles. Film examples include The Illusionist, The Interpreter and The Prestige, of course I chose to focus on radio dramas that featured the broad thriller genre as I felt I could get a better idea of this genre in a radio format.

Based on the storyline and specific characters within ‘The Unseen’, our drama can also be classed as a Psychological thriller; that (the often violent conclusion), the conflict between the main characters is mental and emotional, rather than physical. Thus the mentally unhealthy obsession of Darius with the main character Kaitlain, evidently causing the murders of those involved in the situation at the end.

Scene 3 is good example of drama thriller as the audience is able to see the honest thoughts and concern of the otherwise professional radio show host.

KAITLAIN#: (V.O) So much for that show Ruby.

RUBY#: (D) (Cheerful) I think you were awesome Kate.

(TRAFFIC LIGHTS ARE LOUDER HERE AS KAITLAIN IS CROSSES THE ROAD)

KAITLAIN#: (V.O) (Upset) Maybe I’ll feel a little bit better if I had actually managed to help that first caller today rather than feel like I’ve failed her.

RUBY#: (D) (Sighs) (Bored) She’ll be fine.

(OTHER SOUNDS START TO FADE AND HER HIGH HEELED FOOTSTEPS ARE LOUDER. THE THUNDER FROM THE STORM CAN NOW BE HEARD IN THE DISTANCE)

KAITLAIN#: (V.O) (Unconvinced) Oh please (.) She didn’t get disconnected (.) We both know-

(OTHER BACKGROUND SOUNDS, APART FROM THE RAIN ARE GONE. WHILE KAITLAIN IS WALKING ANOTHER PAIR OF FOOTSTEPS ARE SOFTLY ADDED IN ON THE WORD MONSTER)

KAITLAIN#: (V.O) (Angrily) That monster or whatever he is cut her off. (Sombre) If only there was some way I could actually help her.

Kaitlain displays sadness at the fact that she could not do more for this woman that is clearly a victim. She shows her strong position tempered stand against the ‘monster’ of a husband who is right at the centre of a domestic violence issue. Expressing these emotions towards the past situation shows how this event, be it out of her control, still affects her after she has left her work place, and therefore demonstrates her deep desire to help others.

In addition, the very ‘monster’ she speaks so disgustedly about enters the scene on that very word – cue her stalker - who also happens to be an ex-boyfriend and one she massively dislikes. However, it is soon evident that come face to face with the very culprit of the negative acts towards the distraught caller she defended before; she is then scared away and proven matchless against Darius.


Like The Archers, a soap opera based on the everyday lives of midland settlers, The Unseen is presented in a realistic, more natural soap opera type way. It features the everyday activities and communications of the different characters, incorporating the mundane instances of life as well as the more intense moments of drama. As one would expect from a soap opera, real-life background sounds are incorporated for authenticity and music is not so relied on as a tool to create moods and tension. The whole production of The Archer’s episodes concentrates on the acting and narration of the story, as does The Unseen. The narration is not fogged by the use of music to help out, like that of The Hitchhiker’s Guide to the Galaxy. This science fiction, novel based story involving hitchhiking and aliens adopts a more un-naturalistic approach to the narrative and ultimately makes the communication of the story appear like the reading of a story. The use of a narrator, who is actually one of the characters within the story, is one thing that our radio drama also includes. Where The Archers lets the acting of the characters enact the story, a narrator is used to literally tell the story in The Hitchhiker’s Guide. It seems that the very complex storyline of the drama needs the use of a narrator to help the translation of the story to the reader. The Unseen doesn’t use a very complex storyline but the use of a narrator engages the listeners and helps deliver the story more clearly.

Another novel based radio adaption by Orson Wells, The War of the Worlds differs from the two media formats mentioned above as it was a hour long, sustaining show (without ad-breaks), thus not a continuing series of separate episodes. Y group and I agreed that a series was a better choice as we had a wide selection of ideas we wanted to incorporate in the story. Listening to the whole of The War of the Worlds was slightly different to that of the others – it was much longer than the 15 and 30 minute segments, so required more of my concentration. Ultimately the news report/ documentary style of The War of the Worlds meant that again, there was a concentration on the story being reported. Music was used a tool to break up the bigger segments of information being delivered to the listener and basically added to the news-bulletin format of the radio piece. Like The Hitchhiker’s Guide though, the story included a science fiction genre – reporting aliens and their invasion, yet still uses the very realistic deliverance of the story due to the action of live news reports. This is one instance in which a lot of detailed narration is extremely appropriate for the type and process, of which the story is being delivered to the listeners.

I found that the more three-dimensional and creative, yet clearly unnatural storylines of The War of the Worlds and The Hitchhiker’s Guide to the Galaxy, kept me gripped. The frequent bursts of action and drama within both that can be derived from that of thriller genre, was very effective in capturing my attention. However the realism of The Archers and the live bulletin based news reports of The War of the Worlds helped connect me to the people which featured in both stories. The familiar reactions and activities of the people within these radio pieces made it easy to believe and take more interest in the happenings of the stories.

I also noticed that with this unique hoax of a story, a introductory piece of music was not used to open the radio piece. Contrast to The Archers’, light-hearted, up-tempo, bouncy 33 second melody, ours radio drama introductory music consists of a 3 second one note tension-maker sound clip. The Archers and The Hitchhiker’s Guide to the Galaxy, both utilize their music as general theme tunes for the show – used both at the beginning and end of every episode. Our short sound clip is more specific to the thriller genre we chose for this particular episode of the drama, although we did include it and the beginning and the end of our overall recording. On listening to an episode of The Twilight Zone, I saw that background music was used all the way through the dialogue of the characters. This was evidence that the music was very much apart of the overall piece, as much as the dialogue was a needed element to make it what is. This is something my group found unnecessary from the very beginning of production. Eerie music set the tone in certain areas, continuing through as the narrator spoke. This use of eerie music was a type of sound that fit our storyline and genre extremely well.

HOW EFFECTIVE IS THE COMBINATION OF YOUR MAIN PRODUCT AND ANCILLARY TEXTS?

The ancillary tasks that we were given to do included producing a newspaper poster or advertisement to promote our radio drama. We also had to construct an example of a radio listings guide in which we schedule our radio drama within. These two aspects of radio drama are generally important as they inform the reader of the radio dramas existence, they are used as tools to both attract the listener and then to let them know when they can enjoy the playing of it.


The combination of the three completed forms work very well. With the nature of the drama; being that it is a thriller story, the way in which I designed my poster advert suited the sombre chilling moods evoked within our radio drama. This link between story and image representation is important to create the right sort of imagery so as to help the listener absorb the story better.

Additionally, the authenticity of the radio listings spread was also to translate a reliable source of which the listener can refer back to if they need any extra information on our radio drama. After informing listeners of the time and date of which the drama would be played, the 'Today's Choice' section gives another opportunity to promote the final product even more. We can communicate with and persuade the audience to tune in – make them feel as though they would be missing out if they didn’t listen.

Both of the ancillary texts also support each other in that the image that was added into the review section of the listings spread was that of the one used for the final poster. They are particular valuable in that they can reach the eyes and attention of millions of people in one instance. Millions of newspaper copies are printed and sold every day, all those who still buy the publications are all potential listeners of the final product. Similarly, all those who then obtain the Radio Times magazine, are even more potentially going to tune in. Their purchase of the publication already proves they probably enjoy listening to radio in house dramas; the only thing left to do is convince them to listen to our product. In the end, I feelthat this acts as easy mass promotion and guaranteed listeners for our product.

AUDIENCE FEEDBACK

After attending the listening party myself, I got to see the audience’s reaction and afterwards receive audience feedback on our drama. There were a few reoccurring points that were made about ‘The Unseen’ as follows:

Good vocals and good acting
Effective attention grabbing opening
Good use of sound effects
Overall storyline

However as I listened, I could note down a couple things that still needed to be altered and perhaps added at the late stage we were at. There were definitely a few things i agree with the audience on:

Sound levels needed to be decreased in some places
Vibrating phone wasn’t as recognisable and was too loud
Sound effects began very well but some were inappropriately placed or needed replacing with more specific sounds
The ending was confusing and made storyline unclear
The scene changes weren’t transitioned enough


So we ended up noting these proposed changes to our radio drama:
Decreasing levels of sound where necessary
Replacing vibrating phone with typical ring tone
Recording specific sound effects tt weren’t available to us I the fist place, such as walking on carpet, buttons being dialled and pressed on a telephone, strangulation (to replace multiple confusing gunshots), pushing and shoving of bodies, dead body falling to the ground, and general shuffling of coats to communicate the removing of clothes.
other new sound changes included recording a small section of narration to add authenticity to the overall media form fro example closing with he credits/who acted in each part etc.

We did re-edit and record the new dialogue which we learnt would help our finished piece. Generally speaking, audience feedback was extremely useful. It highlighted all of the obvious points I noticed as I listened, however also brought o attention those things I didn’t suspect as we created and edited first time. After implementing them, I was confident we had fixed all the issues that were highlighted.

My radio Drama Poster

This is the end product of my radio poster/ advert as part of my ancillary task. Using the Google search engine via Internet Explorer, i was bale to find three separate images to help me create the vision i wanted for my final poster advert. I used an image of a female walking, a man hiding behind a tree, and a general woodland landscape image.

After dragging the images straight onto the work are of Adobe Photoshop, the first step was cropping the picture of the woodland area to get rid of the unwanted perimeter – now i had the base for my overall poster.

Next i used the magnetic lasso tool to help me cut around the individuals in each image. I prefer to use the magnetic lasso tool, rather than the other two tools (which are more freehand co-ordinated), as the points which construct the lines around the desired object automatically follow the outer shape of what ever is being cut, making it much more efficient – not so efficient for straighter edges though. I also used this tool to cut out any background imagery afterwards, which was left in between the legs the female for example. I then pasted and saved the newly cut images on new separate layers so i was able to easily alter each one separately.

Due to the shape of the tree (in the base image) which i had chosen for my stalker character (male individual) to hide behind, the two images didn’t fit very snug at first. The concave shape or curve of the tree trunk made it difficult to hide the man’s body behind convincingly, even though i had tried different positions. Instead i decided to use the ‘polygon lasso tool’ tis time, to precisely cut out a curved section of the area of the tree trunk which i then copied and pasted onto a new layer. I took this segment of the base image and positioned it in the gap which exposed the space between man and tree trunk. I then used the ‘smudge tool’ to blend the share edge of the new segment with that of the original tree colouring.

After placing the female image and the fitting the male image to the altered tree image, i only merged these layers together at this early stage as flattening seemed too permanent while I may still want to alter any of those specific layers before completing the overall poster. Now I was able to manipulate my newly created picture as one merged image.

I began by clicking ‘Image’, then choosing ‘Mode’ to change the image mode to CYMK colour, enabling me to alter the individual levels of cyan, blue, magenta, and black within the overall image. With this I increased the levels of cyan (yellow) and black, as well as decreasing levels of everything else. I also liked the shadowy appearance of the background image and wanted to intensify it for the overall feeling of the radio drama’s story, so I increased levels of contrast, by going into ‘Image’ and clicking ‘Adjustments’. With a more dramatic contrast of light and dark, as well as the tan base – matched to the colour of the woman’s jacket, I decided to accent this tone with the same shade of blue in the man’s jeans. I increased levels of blue via the ‘Channel’ tab on the right hand side of the program. The magnetic lasso tool was again used to go around the female’s form, I then inverted my selection to the background around her shape, and selected the ‘Cross-hatch’ filter in the ‘Brush Strokes’ group within ‘Filters’ found at the top. I altered the length and sharpness of strokes to get the desired outcome. My previous step eliminated the female’s shape from taking on this new filter appearance, but I also did the space between her legs with the previously mentioned process.

Adding the text was done by selecting the ‘T ’ tool from the tool selection at the left hand side of this software. The use of this tool is especially for typing text – holding down the mouse and dragging outwards creates the text box that will hold the text. InDesign probably would have been a better software for this as it allows more spacing selections and general alterations for text, but a just used more text boxes for each line of text when I wanted vertical spacing between lines, very close together. As seen in the cluster of text saying…

“The Unseen” when the past refuses to move on… FRI 10 MARCH 9PM.

When I had decided on what text I wanted displaying, I played around with colours and text as art. The scheduling for the drama was displayed thus – ‘FRI 10 MARCH 9PM’. I copy and pasted this text layer so I had two versions “FRI 10 MARCH 9PM” and “FRI 10 MARCH 9PMcopy” one in blue font and the other in grey font colouring. I then positioned one layer on top of the other by positioning the order of the layers on top of each other in the list of layers displayed at the right hand side of the software. Blue, white, grey and orange were taken from the background and co-ordinated with each other within al the text, including the logo representing BBC Radio 4 that I dragged onto a new layer from the internet. By choosing ‘darken’, the translucency of the negative areas of the logo layer, so it blended nicely with the background image. This choice did affect the clarity in appearance of the numbers as part of the bottom section on the logo, but they were still legible.

Radio Drama as a Form

Radio Drama is a type of auditory storytelling broadcast via radio waves. Genre, narrative, dialogue/voice, sound effects and music are necessary elements utilized in this medium to properly translate the story as the visual aspect of depiction is not present in this media form.

Due to the assurance of viewing a continuous story, it is not as easy to illustrate what is happening within a radio drama, whereas film for example, does not have to include as much information about things like setting and costume in the script. These things that would normally be viewed via a television screen convey so much more information than you would imagine, that’s why sound effects and music (normally added in an over exaggerated sense) can be included to demonstrate a rise in tension as well as fully explore the feelings of each character. The separate instalment of sound effects to fill the gaps of what we as viewers would normally just see on television has to be the main aspect of listening to a radio drama. It takes more concentration and lets one really use the imagination as you picture the continuing action in the mind. However, extra detail can also be included in the scripts. Where a film may incorporate a narrator to tell the whole story as it shows on the screen, they wouldn’t usually be a tool to deliver acceleration in time, or thoughts in an actor’s mind perhaps, both which can still be clearly shown s a visual, and could be the same things radio conveys with a narrator. Still, if a narrator isn’t used in the radio drama, the actual dialogue of the characters may bring light to certain minute but relevant facts we would have otherwise missed.

RADIO PRODUCTION

Sound Effects(SFX)

For this radio drama we didn't have to use a wide range of sound effects. As the story is depicted in an ordinary representation of ‘real life’, the use of extra ordinary sound effects wasn’t included. Amongst our utilization of Foley sounds included footsteps, a mobile phone ringing and (typical blood curdling) screams, whereas atmospheric or ambiance sounds were only utilized twice. Scene four is my favourite example of this – set in a typical busy coffee shop, sounds of distant conversations, the odd cellphone ringing, and light music can be heard under the dialogue of the two characters in the scene. Apart from the mentioned pre-recorded SFX already available to my group as part of the software we used, we did manually create a mobile conversation recording. This type of spot effect hasn't got a particular term for ti's creation but it basically involved using the recording application on a mobile phone to record the desired dialogue and then this was played back in the recording studio as we recorded it using the proper recording apparatus. this was to get a more authentic telephone conversation sound and it worked very well. Other new sound effects were created after we received our audience feedback. The same process we used for the recording of the script was used to individually create each new sound. Then we saved and added them to our desktop and kept them there until we were read to add them at a later date.

file:///Volumes/KERI/ringing%20sound.mp3

We also altered the sound of the prologue which was read by the main character still in role but speaking as if looking back on the occurrences which are later revealed in the rest of the story.

file:///Volumes/KERI/altered%20voice.mp3

KAITLAIN#: (CLOSE) (Sombre) That’s when it happened (.) Where my whole life changed before my very eyes (.) It’s hard to believe that it only started less than forty eight hours ago (.) I had just started my morning radio show without a care in the world.

We felt that installing an echoey tone to the sombre speech of this character added to conveying the past happenings.

Voice

As we only used a small handful of characters, we didn’t need to resort to too much differentiation between voices. With a bigger group of characters interacting in one scene, accents from example would be a good tool to help isolate a new line being said in a conversation. With our radio drama though, emotion was the chosen tool to translate the character personalities or essence of the mood in which a particular scene was planned to capture. Of course the details of each character’s background also influenced the emotions in which were illustrated by the actors as demnonstrated in the segment of scnene four below.

file:///Volumes/KERI/KATEDARIUS.mp3

KAITLAIN#: (V.O) (Breathless) Oh (.) it’s you (.) I didn’t think I would ever see you again.

(ANOTHER CRASH OF THUNDER EXCEPT THIS TIME IT’S LOUDER)

DARIUS#: (V.O) (APPROACHING) (Menacing) You should have known better Kaitlain.

KAITLAIN#: (V.O) (Trying to sound confident but her voice wavers) It’s Kate now.

DARIUS#: (V.O) (Mocking) Oh Really (.) That’s not what your show is called (.) Is it (.) Kaitlain Ross.

KAITLAIN#: (V.O) (Scared) Stay away from me (.) Please just leave me alone.

(SOUND OF HER HIGH HEELS RUNNING AWAY)

DARIUS#: (V.O) (Mutters to himself in a threatening tone) That’s right Kaitlain (.) Run home to see your boyfriend (Almost a whisper) while you still can.

This above extract was taken from the ends of scene three – here we catch a conversation between stalker and innocent victim. Based on the background of Darius’ characterization, all through the drama his speech generally conveys both unstable aggression, but also uncomforting low husky tones associated with mysteriousness and menacing unnaturalness.

Kaitlain on the other hand is generally illustrated very ordinarily, so when it comes to hearing the emotion in her voice, the script allows her part to speak freely on the thoughts and questions in her mind. There are unsure or confused and threatened tones in her words, and when her part acts a s a general narration (or reflecting thoughts on the past events), the actor who played Kaitlain adapted a slightly melancholy, regretful tone –basically this part’s nature didn’t experience any happy of joyous moments, so didn’t express any while applying the voice.

Lucy Is Darius’ wife and understandable her characteristics involve timid withdrawn behavior. In the same way, the voice that accompanies her character’s speech is also timid, gentle and nervous sounding.

DARIUS#: (Quickly) This is my wife Lucy.

CARLOS#: (TO LUCY) (Bored) Hello Lucy.

LUCY#: (LOW) (Nervous) Hello

CARLOS#: (Concerned) (TO DARIUS) Is she okay?

(LUCY BURSTS INTO TEARS ON THE WORD YESTURDAY)

DARIUS#: She’s okay (.) she got some bad news yesterday (Threateningly to Lucy) didn’t you (Sweetly) Lucy?

LUCY#: (SWALLOWS) Yes I did.

(SHE SNIFFLES AS SHE WIPES HER TEARS AWAY)

Where Darius’ voice appears eerily low at times and then wildly loud in volume compared to Kaitlain's mid-volume, Lucy’s voice is always heard at a quiet, soft level.

Apart from Lucy, the other two sub-characters which are included to give more detail to the life of the central female are both coincidentally the more up-beat voices. A deliberate point however, with both Kaitlain’s best friend and boyfriend is that their parts are less informed to the full stresses of Kaitlain’s stalker so of course they will be displayed much less affected by the situation. Thus their tones are more cheery or inviting. Both characters’ first lines are said with pleasant exclamation even though the content of the script determines the following speech to include negative occurrences or topics. For example the final scene of the drama includes the violent unexpected death of the boyfriend and yet begins with an inviting social introduction between himself, Darius and Lucy.

Music
My radio drama doesn't actually use much music as we didn't want to distract from the storyline and acting of the characters within it. We injected music in the first 20 seconds after our prologue and used eerie music that encouraged a tense atmosphere to the scary actions of that part. But we also used this same tune to complete the cycle of the drama by placing it at the very end of the story after all the horrifics had happened. I feel that opening and closing with the same tune creates a sense of theme and communicates to the listeners that the story is now finished, but overall makes for a more professional finish. Although my group's intention was not to take away from what is happening in the story, only when it was relevant did we include music.

file:///Volumes/KERI/theme%20music.mp3

file:///Volumes/KERI/tense%20music.mp3

Silence
'The Unseen' uses silence as a tool to engage the listener onto a moment of differentiation between scenes and to create or build tension in certain scenes. In the first part of the drama, the opening line reads...

file:///Volumes/KERI/telephone%20cut%20off.mp3

LUCY#:(D) (Petrified) Please help me (.) Please I need some help (.) He’s just killed h-

As we only used a small handful of characters, we didn’t need to resort to too much differentiation between voices. With a bigger group of characters interacting in one scene, accents from example would be a good tool to help isolate a new line being said in a conversation. With our radio drama though, emotion was the chosen tool to translate the character personalities or essence of the mood in which a particular scene was planned to capture. Of course the details of each character’s background also influenced the emotions in which were illustrated by the actors.

Style, Cues & Links

When talking about the style in which this radio drama was created, we underline that the way that the piece is written will vary depending on the genre that the story is based. The terms Cues and Links refer to the spaces or gaps that appear to separate the different sections of a scripted piece. This includes introductions, scenes, credits etc.

As my radio drama begins with a prologue, if you will - this is basically the introduction to the play which portrays a portion of the ending that is later revisited as the finale to the drama. This idea to format the script in a slightly non chronological way was simply to grab the listener's attention and retain their concentration to figure out how the events of the story lead up to that same beginning point. It ended on a harsh blood curdling scream which is one of the highest parts of drama within the play which contrasts dramatically with the calm mundane first scene. To further establish this as the introductory part of the main story, we used the voice of the main character Kaitlain, to narrate her thoughts on the terrifying events she was to encounter later in the story. Throughout the play, we indicated scene changes by fading down the ends of scenes and then fading up the next scene, as well as leaving slight gaps between. These are clear segmenting of the sections that needed to be included as most scenes don’t involve music, but instead more background noise so we didn’t want the listener to get confused by too many similar sounds effects. Other indications of new beginnings can be interpreted through the social introductions being made at the start of certain scenes. In scene four, the first line of dialogue is a cheerful good morning – a new day and thus a new opening – also captured in the final scene as the doorbell rings and a door is opened to let people in at the beginning.

After immense editing, I would say there’s difficulty in establishing the tragic psychotic thriller genre in which my group based our initial storyline on, however the characteristics of this still appear within the remaining drama. A sense of heroes and villains is included in the form of ‘the Unseen’s psychotic obsessive murder, Darius and Kaitlain, the female victim he pursues. Suspense is created at fitting points in the story to keep the viewer on edge, for example at the end of scene three.

DARIUS: “That’s right Kaitlain, run home to see your boyfriend... while you still can.”
SE: (DRAMATIC MUSIC)

...And the scene ends. However instead of including on-going action, our script contrasts dramatic events with calmer following events, again keeping our audience’s concentration intact. Scene one opens with normality, and showcases a mystery caller who gives a dramatic insight to her abusive marriage –then suddenly gets cut off! And the sense of normality returns again as the radio shows goes on. Similarly, scene three ends with a threatening tone and we see Kaitlain running off followed by sounds of a coffee shop and typical conversation between two friends in the fourth scene. Of course, tragedy is shown by the simple point of sad events which lead up to a startling scene of death in the end. Although we had planned for our drama piece to be part of a continuing series of radio shows, Kaitlain is the only one to survive at the end of this story – again reiterating the element of tragedy. Otherwise, there are no specifically happy events, only normal everyday goings-ons. This is then followed by the ultimate dramatic ending.