The radio editing stage has been a fairly quick and easy process. We used Adobe Audition for this task which I had already used before in order to edit the voiceover for the trailer. This meant that when I had to edit the trailer voice over I was already familiar with the software and could get things done fairly quickly. First I had to split all the takes of the script into separate sound files and then choose the ones that the group felt were best. There were two sections to this with the first being the film’s main male protagonist’s speech and then a narrator for the legal blurb at the end. Therefore I saved the files with the different voice artists names and then 1a, 1b, 2a etc. for the different takes. Keeping them well noted and ordered like this made the next part of the editing process a lot quicker.
The clips were chosen on both sound quality and appropriateness of the tone of the voice artist. We were looking for a serious tone in the actor’s voice in order to meet the codes and conventions of thrillers. I learnt from my research into the ‘Tell No One’ trailer that the tone and tempo of speech on a thriller’s radio advert are important sign systems for the audience. Having a slow tempo with a serious tone provides a kind of suspense and tension which is precisely what we were looking for. Once they had been chosen I simply had to put the two segments onto Adobe Audition and put them together. This software is pretty easy to use and has definitely helped me to create a good quality product in this case.
After completing the main two segments of speech we had to add a couple of sound effects. It was decided at the planning stage that we would not use music on the radio advert as we felt the silence would provide the tension we desired. For the sound effects we decided to include the bass drum beat that we had used in the trailer at the beginning and end of the advert. This provides some continuity in the campaign by linking the two products. We also decided to use a heartbeat on the radio advert. This sound effect was not on the trailer but we decided to run it as an undertone to the riddle as ideologically hearing a heartbeat is associated with fear or tension and hence it fits the thriller codes and conventions.
The clips were chosen on both sound quality and appropriateness of the tone of the voice artist. We were looking for a serious tone in the actor’s voice in order to meet the codes and conventions of thrillers. I learnt from my research into the ‘Tell No One’ trailer that the tone and tempo of speech on a thriller’s radio advert are important sign systems for the audience. Having a slow tempo with a serious tone provides a kind of suspense and tension which is precisely what we were looking for. Once they had been chosen I simply had to put the two segments onto Adobe Audition and put them together. This software is pretty easy to use and has definitely helped me to create a good quality product in this case.
After completing the main two segments of speech we had to add a couple of sound effects. It was decided at the planning stage that we would not use music on the radio advert as we felt the silence would provide the tension we desired. For the sound effects we decided to include the bass drum beat that we had used in the trailer at the beginning and end of the advert. This provides some continuity in the campaign by linking the two products. We also decided to use a heartbeat on the radio advert. This sound effect was not on the trailer but we decided to run it as an undertone to the riddle as ideologically hearing a heartbeat is associated with fear or tension and hence it fits the thriller codes and conventions.
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