We edit audio because we do not always have the time on air to broadcast a whole interview. Before you start editing audio, always ask the editor or producer of the item how long the edited item should be.

Make sure you are familiar with editing software you are using.

Ask whether you need to edit a cut down of the whole interview including your questions or if you are to provide one or more clips of just the interviewee talking.

Listen to the whole interview all the way through once, taking note of key points and noting down a time code for each important point made by the interviewee.

Listen out for poor quality. If you can’t hear what’s being said, it’s unlikely your listeners will be able to.

There are two main ways to edit – amputation and filleting.

Amputation implies cutting short the whole interview or cutting out whole questions and answers.

Filleting means taking only the essential parts of each answer and cutting out a little of each answer.

Amputation risks leaving out relevant information while filleting can result in an interview which sounds disjointed and unnatural.

Allow interviewees to sound as if they are having a conversation. It is not your job to make the interviewee sound more fluent or more polished.

However if they interject with hesitations such as ‘um’ and ‘er’ or leave long pauses in their answers, you should consider editing some of these out if it helps the listener understand what is being said.

Be careful not to cut all the hesitations and pauses out because that can sound artificial and unnatural.

Never take one answer and edit it as a response to another question. This is unethical and unprofessional.

Radio is a medium that is based on your ears. That mean when you edit audio, try not to edit using just the screen. Pay more attention to how it sounds rather than how it looks on the screen.

When you have finished editing, always listen back to the finished edit to make sure you have fulfilled the brief you were given, that you have captured all the relevant points the interviewee made, and that you have represented the interviewees points fairly and accurately.

The post Editing audio for radio news first appeared on Media Helping Media.

Bulletins are designed to collect all the news that’s relevant into one specific broadcast, usually a few minutes long.

Each bulletin will have a variety of stories reflecting the latest information your listeners are interested in. They are not comprehensive. They should give a flavour of the main points of the stories.

If you are working for a small radio station you will probably be gathering and editing the material for the bulletins and reading them yourself. If you work for a large broadcaster you might be editing the bulletin for a presenter to read.

Stories will consist of the following types: a straight read by the presenter; sections of text followed by a clip or clips of audio; an introduction followed by a piece by a reporter.

Work backwards from the on-air time and give yourself enough time for preparation. For example, you need time to print off scripts, brief your presenter if necessary and to get to the studios.

If you are the bulletin editor you need to give journalists clear instructions about what they are expected to deliver, the length of the item they are producing, the format it is expected to take and when it is meant to be ready.

Give yourself time to look at the story and check it for grammatical and factual errors. Read it out loud to make sure it makes sense and can be easily understood by listeners.

When you have collected all the stories you will use for the bulletin, always add a couple of extra items if possible. This is to allow for technical errors with audio and so on.

Try to rank the stories in your bulletin in order of importance and give each story a weight.

For example, a story which impacts on everyone in the community will usually be stronger than one which only affects a handful of people. An outbreak of Covid-19 in town is more important than one about plans to upgrade a road in two years’ time. A story about a football result will carry less weight than one about deaths arising from a traffic accident.

Try to place connected stories together in the bulletin. For example, it would make sense to place a story about malaria next to one about health facilities.

Once you have ordered the stories, write your headlines. You don’t have to write one for each story, just the most interesting ones. Most bulletins will end with closing headlines as well.

Brief your presenter about the running order, when to expect soundbites and so on. Give them time to read the text through before they go live on air.

If you have a number of bulletins during the day, try to refresh the stories from bulletin to bulletin so they sound different each time. Stories have a shelf-life, but this can be extended by finding new angles, rewriting the introductions and so on.

Keep your listeners in mind at all times. They expect to hear the latest news in one place. It has to be accurate, timely, balanced, and interesting. Following these guidelines will help you to achieve this.

The post Editing radio news bulletins first appeared on Media Helping Media.

This is a short training module setting out the basics for creating a news package for radio. It’s been created for those starting out in radio journalism. We have embedded a pdf of our training presentation at the bottom of this module. You have the option to open it in full screen or download and print it. We hope you find it helpful. Let us know if you have any questions by using the contact form.

Technique – using sound to tell a story

• Imagine your voice going into a listener’s ear
• Use your voice expressively – plenty of variation
• The tone should be sympathetic to the story

Actuality – enriches your script

• Find good people to interview
• Look for complementary sounds which are relevant to the story
• If it’s a story about dogs, you need barking

Chronology – the evolution of the story

• Find out what has happened
• Uncover the who, why, when, where, and how of the story
• Ensure you understand fully all the elements

Atmosphere – sound effects

• Record enough wild track at the scene
• Wild track is background noise
• It’s useful because you may need it later in the editing process

Sensing – being there

• At the scene, explain what you are sensing
• Describe what can you see, hear, smell and touch
• Avoid explaining how YOU are feeling

Feeling – emotional impact

• Ask your interviewees what they feel
• Find out if they are afraid, sad, hopeful, happy
• What YOU feel doesn’t matter

Perspectives – what people think

• Seek out multiple perspectives
• Look for diverse voices
• Never ignore conflicting opinions

The so what factor – what happens next

• Find out what are the next steps
• Explain why those steps are important
• Note any future events & meetings for follow up purposes

Putting it together – sounds in harmony

• Use short clips from your wild track and interview
• Use your script to bind them together in a logical way
• Keep your links short

The post Constructing a news package for radio first appeared on Media Helping Media.