Production week 1 (31/01/2020)

For the first production week we were finally assigned our roles for the production of our chosen drama. We also made the final decision on what drama we wanted to produce. I made the decision to be the producer for the audio drama. This means I will be, in theory, in charge of making sure we produce our best possible work.

So far, I have assigned everyone a set of tasks to complete by our next meeting. These were:

• Read through the script for our chosen drama
• Start thinking about what types of sounds and atmos we could start recording ahead of the drama recording day

As the producer I have also set a number of tasks myself to get working on ahead of time;

• Thoroughly analyse the script and story line to start thinking about a possible production schedule

Going forward, my aim is to stick to the production schedule we develop.

Production week 2 (07/2/2020)

For the second week of production, we learned about recording procedures for different types of scenes. Our team has started thinking about what distances from the microphone will work for the scenes within our drama. The director has also started thinking up loose character profiles for the actors to act as guidelines when recording.

In terms of production tasks we have a few to start thinking about and working on

• Solidify the production plan
• Break down scenes and start thinking about what order we could record them in
• Start recording atmos and surround sounds

Production week 3 (21/02/20)

For this week, we met with a professional post editor who showed us different examples of his work. We also learned about compression and editing processes when it comes to post production which we can apply to our audio dramas after recording

In terms of the production of Angel fish, we have managed to split up the drama into sections / a potential recording schedule. For now it has been categorized by similar environments when it comes to editing. So for example we have decided to put in all the outdoor scenes together, and the indoor more muffled scenes together. This way, we are able to establish what environments we would want to record in and group them together.

For next week, we will likely separate the scenes into similar feelings as well for the actors, to maybe keep them in the same mood / setting for the actors during recording.

This is a decision we still needs to make.

After this decision has been made we will be able to establish an alternative production plan to recording the scenes set in similar environments.

Production week 4 (28/02/20)

We as a team have made the decision to split up the drama into similar recording environments. Therefore this has formed the basis for our production schedule for the 13th. We will be recording the more difficult environments first to figure that out first and then end on the less challenging environments. For our next meeting we will be focusing down on the specific props that are needed for these scenes so that we can start putting them together ahead of the recording day. We will also be specifying how we would like to build these sets for the environment and thinking how we would like the actors to be placed to really enhance the scenes.

By the end of the next production meeting, we should have these details listed for each scene and therefore be more prepared for the recording day.

Production week 5 (06/03/20)

For the week before recording, we really focused down on our plans for the recording week. With the recording order of scenes established, we worked on a more extensive document further detailing the props we needed for each scene, the environments we wanted to record in, and the specific characters in each scene. This way we were able to really ensure that the recording went smoothly. Claire put together a document showing a mood board for each scene in case we needed it during recording.

Production week 6 (13/03/20)

For the recording week, I had to ensure we had a clear cut recording schedule. Therefore, I made sure we had a printed copy of the recording schedule with each scene we wanted to record in what order, and what characters where in that scene. We also tried to ensure we had the recording environments listed as well as the required props.

During recording however, we did run into one main issue. We had not fully established an editorial plan for recording. As a result, we weren’t able to really direct the actors properly to get the absolute best out of them. We did manage to stay on schedule but we could have done better in directing the actors to fit an editorial point of view.

For the editing, we have come up with a sort of plan to ensure that everyone contributes to the editing process. It is slightly more difficult as we won’t be able to meet in person. We will be maintaining communication via whatsapp for messages or editing notes and if needed phone calls for more immediate commentary.

Stephen will be putting together all the chosen takes and editing them together in the right order, I will be adding in the needed sound effects and atmos. Claire will be further on editing this brought together piece to really bring it to life with compression and reverb where needed. Holly, finally will be helping source sound effects and helping with creative inputs we may have missed.

Editing week (20/03/2020 – 27/03/2020)

For the week of editing, I tried to ensure we had a clear cut plan for editing. This way, we would be able to ensure that we could get the full edit in time for submission.

My tasks for the whole piece was to really try and bring the raw recordings to life. I took to raw files Stephen had put together in order of the scenes, and started building the audio drama around it. I sourced the sound effects, music and atmos sounds and used them to build each scene. I kept close attention to ensure that the drama sounded realistic even without the compression and reverb being added. I tried really hard to translate the script into the found sound I had and tried to ensure that the drama still made sense even with some effects missing.

Stephen leveled out the piece to ensure the sounds came out at the right levels, and Claire made the final decisions on the compressions and reverbs used, as well the final editorial decisions on the piece. Holly mainly helped write out the final document for submission, the one detailing the drama’s ins and outs and the programme descriptions.

Stephen worked on a radio edit for the final submission document based off what Holly initially wrote. They both worked on the final submission document.

Final piece: