Microphone positions - five in total - from closest to 'moves off' (furthest)
POSITION 1 - closest to the microphone (as close as possible - beware of blasting and popping)
USED FOR: monologue + voice in the mind = interiorizing - the voice in the mind
POSITION 2 - intimate conversation (a step away from position no 1) CLOSE-UP
NOTE: SHIFT from POSITION THREE to POSITION TWO, and back again. This demands technical acting skill. It must fit with the dialogue situation - the intimate climax of a scene?, telling a secret?, wanting to move to an objective.
POSITION 4 - across the 'room' (to 10 feet away) - opens out the dialogue to a larger space + making an approach 'through the door' to characters in POSITION 3
POSITION 5 - 'moves off' (farthest off in the STUDIO, behind curtains, behind screen) or OB
SOUND CENTRE - FIXED SOUND CENTRE - the centre of the sound picture remains fixed in the same place + MOVING SOUND CENTRE - 'we go with'
Perspective - construction, width and depth of the sound picture
Perspective explained by film shot analogy
Top of scene (technique) - establishing sound centre - first character speaking (perspective & sound picture)
OB - recording outside the studio
I have not included details about these MICROPHONE POSITIONS further on this site. They are crucial for scripting and production. You need to consult my book.
Learn about these production details and working at the microphone, in my book -
Beck, Alan, Radio Acting, London: A & C Black (1997) ISBN 0-7136-4631-4
For an application of this - see Close-up - making some dialogue section more intimate
Next - You will find advice on EXPERIMENTAL radio drama pieces - being as creative as you can.
Then - further into this site:
Setting the scene
Silences and the overall design silences hook signposting Description establish presence scene boundaries scene boundaries - more Perspective sound centre and Point of listening = POL To index
Structuring the plot
Narrative protagonist-dominated Narrator closure (ending) use a 'mystery' Realism To index
Production issues in detail
address naming record 'umms' from all the characters to store scene structure dialogue is more than words SOUND BOX - production sound effects archive atmos and soundscapes double frame - triple frame clustering underscoring music - fighting the dialogue Noise 'moving camera' technique Music montage
'Will you turn that music down!'
18-second rule drop-ins sound pictures memorability number the scenes carefully with a system voice in the mind = interiorizing time-space rule or jump cut
Styles of production, directing and post-production
Standard production Genre (academic) and types of plays story board chaining sentences - (characters or character and narrator) doubling sentences - overlapping (narrator and protagonist) economy rule To index
Theoretical issues & writing-up your project
writing up your student project work (critique) realism symbol system language based = logocentric What is radio theory for? Theory - what is it? Voice
This site is 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres'. See INDEX to navigate also. Complete curriculum of scripts, techniques (acting & directing & post-production & genre styles), advice, sound files - effects and atmoses (with no copyright and so free to use), detailed script commentaries, etc.
Academic material on this site is Alan Beck is licensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales License.
Learn about radio drama on this site along with my book - Beck, Alan, Radio Acting, London: A & C Black ISBN 0-7136-4631-4 Available on Amazon. CLICK HERE.
Any opinions expressed in this site are the personal opinions of the owner of the site. IF YOU HAVE COMMENTS, PLEASE EMAIL TO : email@example.com