WpN Broadcast FAQ

The definition of ‘Multimedia’ is constantly changing and growing but the principles of collecting sound, making your subjects feel comfortable and knowing what questions to ask, are basis for creating strong multimedia programs. We are asking photographers to take shooting one step further and tell a broader story by collecting sound as well: you know the subject, you know the region and you have the power to communicate your knowledge to the public better than anyone else. We believe that the more we know about your subjects and the more opportunities for people see your work the better.

Below is a wealth of information on what to be aware of when gathering audio, how to help your subjects tell their story and how to incorporate this into your professional life as easily as possible. The guidelines and suggestions below are largely the work of Brian Storm, who was Director of Multimedia at MSNBC.com before founding MediaStorm, and Jim Seida of MSNBC.com. Brian is one of the true pioneers in the multimedia field and is its greatest evangelist. We are grateful to him for allowing us to pass many of his insights on to you, and encourage you to visit his site at www.mediastorm.org.

I look forward to working with you on this new venture. Enjoy!”

My very best,

Brian Miller
Chief Executive Officer
World Picture Network

Broadcast Dos and Don’ts


How to Submit to WpN


Resources

Broadcast Dos and Don’ts

Why should photojournalists gather audio?
So, what's this all about really? It does seem to fly in the face of what a still photojournalist does in their day-to-day routine. As documentary photographers we are encouraged to be a fly on the wall. We hang in the background and try to be invisible so that we can capture the subtle events in life. We adopt a "don't look at me, don't talk to me" attitude. In doing so, we can make some great pictures, but are we really capturing the complete story?

Try it. Take the time to sit down with someone you've photographed and speak with them. This can be scary. It's even scarier when you're recording the conversation, but the end result will be the person in your pictures telling their own story, in their own voice. This isn't easy. It takes time. It takes new equipment and new skills. It takes the courage to break out of your routine as a photographer and try something new. Getting a photographer to put the camera down is like talking a dog off a meat truck, but the benefits of taking this approach can be incredible to both to your journalism and to your economic success.

Gathering audio to compliment your pictures
Without question, gathering audio interviews and natural sound from an event will make you a much better journalist. You will learn more about your subject. You will gather detailed information for your story and your captions, and you will have a product that is more marketable across many more outlets. Sound brings pictures to life in a way that captions alone can't accomplish. Pictures allow you to see what you'd otherwise just be listening to in an audio-only piece. The marriage of pictures and sound offers the viewer a truly enveloping experience. It adds realism, texture and depth to your stories and it lets the people in your pictures speak for themselves. Audio also increases your chances of being published, as your story will be ready-made for a variety of mediums. Think about how your sound and pictures are going to work together. You want your sound to compliment and carry your pictures, and you want your pictures to do the same for your sound. The beauty of using the two together is that one can fill in the holes that the other would have if used only by itself. The end result is that the finished story is stronger than it would be if it was used singularly.

How do captions and audio work together?
Here is an excerpt from an email written by Meredith Birkett, Special Projects Multimedia Producer at MSNBC.com, about caption writing and audio and how they work together:

Text captions are useful for the basic information related to an image. A reader should be able to see the picture and read the caption and take away all of the important information about the image and continue the thread of the story without listening to the audio. The audio is supplemental, but still important, information. We hope the audio will not repeat the same caption information. Instead, the audio should go beyond the caption to convey information that is more compelling in the spoken word...a subject's voice faltering as she talks about her dead son, the rage that a photographer feels at the injustice of the world.

Sometimes the audio can describe the background to the story, or maybe what happened right after that picture was taken. The audio can also describe more abstract or philosophical thoughts, or more opinionated thoughts, than would typically appear in a caption. Here's a good example: We have an image of a child's drawing of a relief plane in Sudan. The caption describes what the child drew, where the picture was drawn, and that this child has been receiving food aid from the World Food Programme for all of his life. In the audio, you hear the photographer describing how since ancient times, people have drawn what is important to their culture...animals they hunted, wars they fought. A child drawing a relief plane shows how important that aid is to their life.

Which should I work on first, pictures or sound?
That depends. If there's sound that I think might be gone in a few minutes, you will probably break out your sound gear and start recording. If the light is perfect but fading, you will most likely make pictures first. There's no right way to do it, and there's always a tradeoff. You have to accept the fact that when you are recording, you'll miss some great images and when you are shooting you'll miss some wonderful sound. I've tried doing both at once, it doesn't work very well. Getting good sound takes just as much skill, energy and focus as getting good pictures; it's tough to do both things at the same time. With that said, a good sound bite can open your eyes to a new picture you need to capture to complete the story. A good picture, now that you have audio recording as a tool, will often prompt you to lay down an audio track to support the frame.

Shooting for Sequences
One thing to consider as you are shooting is that you will want to have several still images to cover the audio. In other words, you will want a sequence of images to combine with the narrative of your audio. Consider locking in to a composition and letting the motion move through the scene, still focused on capturing decisive moments.

Keep track of what you shoot and what you record
If you make a nice frame of a kid kicking a soccer ball, don't leave the situation until you get the sound of a kid kicking a soccer ball. Don't stop shooting until you have a sequence of images, consider a beginning, middle and end to the visual sequence. Then, you could do interview with the kid about why he or she likes to play soccer.

If, when recording, you get the sound of the woman's dog barking and you want to use it, work on making storytelling pictures of the dog barking. By really listening and really looking, you will find that your pictures will lead you to sounds, and your sound will lead you to pictures. When you find this happening, it all starts to come together.

Recording interviews
An audio interview is a controlled situation, much like an environmental portrait. When you do an interview, it's your responsibility to make the person talking as easy to understand and sound as true-to-life as possible.

Location, location, location!
Choose a quiet location. Find a spot with soft surfaces that absorb sound. Sit on a couch rather than a kitchen chair. Cover a table with a blanket. Close the curtains. Turn off the computer. Unplug the fridge. Just remember to plug it all back in before you leave. What you're trying to do is create a sound booth wherever you are for the interview. This is process is extremely important to the final product and is similar to shooting an image against a clean background as opposed to a busy one. A car with closed windows is a great place to do an interview. Avoid places with lots of echoes like gymnasiums or hallways. If you have to interview someone in a space with bad acoustics, you can compensate somewhat by placing the microphone very close to the person's mouth. This will reduce the ambient audio and use their tone as the primary level. The farther away the microphone is from the speaker's mouth, the more presence the ambient sound will have in the recording, and the less bass and richness will be make it from their mouth to the recording media. Microphone position is akin to composition.

Avoid consistent ambient background sound
You will have a very difficult time editing if you conduct an interview with consistent background sound such as music playing on the radio. It's almost always better to find a quiet space with good acoustics and gather the ambient you will need before or after the interview. Again, you're in charge in an interview situation. Ask people to turn off the computer, even unplug the refrigerator. These sounds always come out much louder in the recording than they seemed while you were making the recording.

Location, location, location! Part2
Equally important, ambient noise can make an okay interview really sing. If, for example, you were interviewing an Italian Chef, think how cool it would be to hear the ambient noises of a kitchen in a busy Italian restaurant in the background! (Bear in mind, though, that the background can overpower your speaker, or that someone might drop a pot just as the Chef is explaining his or her inspiration to you.) You can always do the interview in a quiet place, record the kitchen sounds separately, and then mix the two together, thereby giving you much more control over the relationship between the two sounds. Always think about (listen to) your surroundings and how you can best tell the story.

How do I engage my subject during an interview?
You know how physically and mentally exhausted you feel at the end of a good shoot when you've really made some good, meaningful pictures? You should feel the same way at the end of a good interview. Getting a good interview takes energy. You have to be thinking all the time, thinking about where the interview is going, what to ask next, but not at the expense of listening to what the person is really saying. Really look at a person when they talk to you. If you truly engage them with your eyes, it will help them ignore their surroundings and the microphone, and get into the space they need to be in to speak honestly with you.

Get your subject to qualify their own statements
Suppose you're interviewing the paperboy. You ask, "How long have you been a paperboy?" He says, "Two years." "Two Years" is what you have on tape. What are you going to do with that statement? It can't stand alone because there's no context to the response unless you include the question. Instead, ask, "How long have you been a paperboy, and what's your favorite part of the job?" By having to qualify the order of his answer, "I've been a paperboy for two years and I love throwing the paper at garage doors." Now you've got something you can use.

How do I get what I need in an interview situation?
Ask open-ended questions. A good way to start any interview is to say, "Tell me about..." It is good to ask questions that encourage people to remember things in a sensory way, "What did it sound like when...", "How did it feel when...", "What did it smell like...." Some people tend to go off in a direction you didn't think your interview would go. If you have the time, let them go. You will often get your best material from these situations. If you don't have the time, don't be afraid to politely step in and steer them back to the subject at hand. Sometimes you just have to ask the question again.

At the end of every interview always ask, "Is there anything I should have asked but didn't?" Sometimes, people won't volunteer things, even if they feel strongly about them. When they realize that this is their last chance, they will often divulge something that they've been thinking about throughout the interview, waiting for you to ask. This "last" question also allows them to end the interview, rather than you. Often, people won't really open up to you until what they think of as the "formal interview" is over. It's only then that they open up the floodgates of information. If you can, that's the time to get the microphone back out and keep rolling. Some people don't want to open up, don't want to let you in. You need to gain people's trust. Again, give a little of yourself if you expect them to give back. Be honest with people. Empathize with people.

Silence Is Golden
When someone finishes answering a question, if you feel they might have more to say, simply remain quiet. Most people aren't comfortable with silence in a conversation, and they will say something to fill it. NBC News Correspondent Bob Dotston spoke at the NPPA Video Workshop in Norman, OK and talked about the art of asking questions.

"Silence makes most of us uncomfortable. Use that fact to help you get a better sound bite more quickly. People nearly always answer questions in three parts. First they tell you what they think you have asked. Then, they explain in more detail. If you don't jump right in with another question, if you let the silence between you build, they figure you don't yet understand and they make an extra effort to explain their thoughts more concisely. Often they make their point more passionately and precisely the third time."

Don't let your equipment get in the way of getting a good interview
If you're not comfortable with your equipment, those you interview won't be either. Practice operating the equipment. Practice connecting and disconnecting the microphone. Learn which buttons are which by feel. You should be able to operate your recording device in total darkness. You also need to trust your equipment. Nothing is more distracting and unsettling to someone than a journalist who constantly checks his or her gear to make sure it's working properly. By doing so, you simply remind people that they're being recorded, and you move farther away from getting something truly personal and honest.

Don't pay any attention to the microphone that you're holding two inches from someone's lips. Look them in the eyes, not the mouth. This will tell them that the microphone is normal, that it shouldn't bother them that you are connecting with what they are saying. Listen to what they have to say. Soon, they will forget about the microphone, and they will relax enough to give you a good interview. Don't set the recording gear on a table between you and the interviewee. This only seems to put a distance between you. Set it off to the side.

Don't ruin your interview with uh-huhs and mmm hmmms
When someone speaks to us, we often let them know we're listening by saying, "Uh huh", or "mmm hmmm." Don't do it. Let them talk. You will be very disappointed when you go to edit the audio and you hear yourself in the middle of some of their words. Simple nods and smiles are enough to let most people know you're listening. Remember that body language is said to be the primary form of communication in an interview. Lean forward to show interest. Engage them eye-to-eye. Show physical interest with your body language and get wrapped up in what they are saying to you.

What is "natural sound" and what can it do for me?
Natural sound is any sound other than a formal interview. Stop and listen to what you hear right now. What you hear is natural sound. It might be a computer hum, a radio or television, people talking in the other room, the wind blowing, cars going by, someone making dinner, the baby crying, your fingers on the keyboard, or, pure silence. These are all examples of natural sound and it provides the details that give a story a sense a place and helps to paint the picture. Natural sound can be incorporated in a variety of ways in audio storytelling, so gather all you can when you're in the field. If, just for a moment, the user felt like they were on that farm where you did that story, you have succeeded. What put them there? The interview with the farmer or the natural sounds of chickens, cows or the tractor sprinkled throughout the story? Wherever you record sound, even if it's an interview, be sure and get 30 seconds or more of pure background sound, the tone of the room if you will. Every place has its own "silence", and they all sound different. You will need some of that silence to cover some of your edits later in the editing process.

Wear headphones. Yes, wear headphones.
Not only are you expecting someone to talk into a microphone, you're doing it while wearing headphones at the same time. Headphones are the only way to truly monitor what the microphone is picking up. If you don't wear headphones, you really don't know what sound you're getting, or if your equipment is even working. If you accept it as normal, so will those around you. Not wearing your headphones is akin to shooting an image without looking through the viewfinder. We've all shot from the hip now and then, but would you do an environmental portrait that way?

Would you please say that again?
If the phone rings in the middle of an interview or someone coughs, or a dog barks, or a lowered 1992 Civic with a loud exhaust goes by, don't hesitate to ask the speaker to repeat him or herself.

What is the best sound recorder for me and where do I get one?
Different people collect sound differently and their equipment needs will vary. You need to find the easiest way to integrate sound gathering into your normal way of working. We have a relationship with M-Audio, who have given us a limited number of sound recorders. Our photographers have found the M-Audio recorders to be small and easy to use. They take the same flashcards as your digital camera, so no tape or extra equipment is required, and it fits into your top pocket. The sound quality is excellent so we encourage these for first time sound collectors. There are other companies with quality equipment on the market, including Marantz and Edirol, so it is important to do your research and find what works best for you. There are many outlets for selling recorders, these links are listed in the resources section.

How to Submit to WpN

How do I submit my multimedia/video to WpN?
You can email Brian Miller at brianm@worldpicturenews.com to pitch your idea or, if you have something completed, a link to view a sample of the program. You can also mail us a DVD/CD of the program. You will be contacted regarding your program within 48 hours after we have reviewed everything.

Will WpN produce/edit my program if it is accepted?
Yes we have an in-house producer and editor who will work to put together the best program possible, staying true to the story you want to tell. All we need are your sound files and images and/or video to begin putting your story together. These can be sent by FTP or put onto a DVD and sent direct to our offices.

Do I need to give a detailed pitch with my story?
Yes, you will need to send a pitch so we have an overview of the story we are editing.

What if my interview is in a language other than English?
If you are working with a translator or you speak the language yourself you will have to transcribe the interview in English and send it along as a Word document when you deliver your sound. You will need to be specific with time code so we are certain to translate word for word what your subject is saying. It sounds like a lot of work, but it is very important for production purposes.

Where do I send my sound files and how?
You can send your sound files through your WpN FTP Gateway as you do your images but you must create a new folder called WpN_Audio and drag your sound folder for each story inside this folder can include your story pitch and translation documents as well. Label each story folder WpN_StoryName_Your Name that way each audio story you do we can keep track of each new file.

Resources

Video / Multimedia on the web:

New Media Info:

Video and Sound Gear: