Reading/Reflection
Some final words: Where to begin? Learning some basic audio and video editing skills has been a longtime goal of mine but as what always happens with life, other things had to come first, like work, school, family responsibilities, being in three different bridal parties, etc. The last time I had truly delved into visual media was my senior year of high school when I had to complete a few video projects for a journalism class. Unfortunately as time passed, I didn’t exercise those skills enough. But fortunately thanks to this course, I was able to incorporate audio/video editing education into my grad school studies. Because these courses are fast-paced, and because I’m enrolled at Quinnipiac remotely versus onsite, there was a bit of a limit with how much I could reasonably learn in seven weeks. However, I’m pleased to say that I have a grasp of basic audio and video creating/editing, though I am not confident enough to provide these services to others just yet. The most useful things I learned were how to use Audacity and Adobe Premiere Pro, although I would’ve liked to spend more time figuring out the Audacity tools. I think over the next few months, I would like to set aside time to see how and in what ways I can make my projects go from student project to more professional-looking work (i.e. through utilizing different editing tools, lighting setup, etc.). I don’t plan to become a professional filmmaker, however, there are things in my life and my friends’ lives I’d like to be able to visually document, and create lasting memories of those moments. Research to Inform
This particular version of “Sense & Sensibility” has been my favorite film since I was 14. However, I’m aware that Jane Austen isn’t everyone’s cup of tea, so you can simply skip to 2:22, 2:40, and 3:22 to see some subtle examples of J-cuts. This opening part sets up the premise of the whole story. At the beginning, the Dashwood patriarch is on his deathbed, urging his oldest son Henry Dashwood to financially support his stepsisters and stepmother. Since women were not allowed to own property or manage their own financial affairs at this time, it would be up to Henry to ensure his family’s financial security. His wife, Fanny, isn’t too thrilled about this, as it would mean less money for her own family. Throughout this scene, we can see Henry and Fanny going back and forth over how much would be appropriate to dispense to his mother and two sisters. As they converse at their home, walk through town, and take a carriage ride, the character’s words in the next locations can be heard before we can see the characters and exactly where they are. All these parts are part of one conversation but work well together because we can get an idea of how long the couple has been debating the money topic.
This one-minute clip shows examples of both the J-cut and L-cut. In the very beginning where we can see Forrest and his mom embracing, we can already hear the rock n’ roll music of the next scene as it transitions into Forrest’s arrival in Vietnam (J-cut). At :20, the view of the chopper from the inside switches to an outer view with the same music still playing (L-cut). Abruptly at :40, Forrest begins giving his commentary while we’re still watching the same scene (J-cut).
Not sure if this one counts since there isn’t much audio changes in music videos, but in this very strange (yet my favorite) music video by Bastille, we can see at least one example of an L-cut at :19 (although I’m sure there are more) as the audio continues on while the scene quickly changes to Dan Smith getting his hair buzzed. Because the music video is supposed to reflect the chaos and weirdness that the late night hours can bring, the series of cuts/L-cuts in this music video work well. Create For my final project, I interviewed a friend’s mom who, for the last five years, has been teaching herself how to do charcoal art. Her work, to say the least, is incredible. Overall, I like the flow of my video, but unfortunately, the microphone of my camera has created a very static-y sound throughout the interview parts. Nevertheless, I tried to work around this obstacle. Additionally, I made the executive decision to not add extra narration to the piece. I wanted my subject and her art to speak for themselves - I feel that any extra commentary from me would’ve taken away from the film.
0 Comments
Reading & Writing
As we near the end of this course, it seems fitting for me to focus on one of the final chapters of Tom Schroeppel’s book, “The Bare Bones Camera Course for Film and Video.” More specifically, I want to focus on Chapter 9, “Doing It.” Although I did not walk into the course with much foundational knowledge of proper audio/video editing, there are some elements of my former career as a reporter that are relatable to some of the challenges that filmmakers face. For example, as a staff reporter, I was tasked daily with condensing an hour’s worth (or more) of audio I collected from an interview and make a 600-800 written human interest story out of it. For filmmakers, the challenge is similar - they are often responsible for taking numerous shots, takes, and B-roll and deciding which ones will fit best into the final product. In Schroeppel’s Chapter 9, he shares a few methods for helping filmmakers organize their projects. Most of us are familiar with the clapboard directors use, which uses a slate. A slate contains important information about a film/scene, like the scene number. For Schroeppel, slates go just beyond critical information. He writes, “Any time you have the slightest doubt that the editor might not know what a scene is or where it goes, use a slate to provide the necessary information...It forces you to think about how the pieces are going to fit together” (Tom Schroeppel, p. 112). He also describes two other ways filmmakers can organize the various elements of their projects: shooting scripts and storyboards. A shooting script is a written document divided into two columns; one for video elements and the other for audio elements. The writer can determine what type of shots and what the actors/narrators should say during certain parts of the film. For those who are more visually inclined, a storyboard does more or less the same thing but shows drawings of how a scene should be laid out with text underneath that showing what will be said during those scenes. Research to Inform
There’s a lot you can do in a minute or less, and this 60-second documentary proves just that. I enjoyed the opening, where the camera moves from a slo-mo wideshot of the lemonade mogul juggling lemons to a close-up shot of the same action, and then another close-up shot of him squeezing a lemon (poor choice of words, sorry). This might be a minor detail, but during the interview portions (where we can see him talking to the interviewer from waist-up), I appreciate how the documentary’s creator had him looking off to the side instead of directly at the camera. I also think the panoramic, drone shots were incorporated smoothly into the film, along with the various B-roll shots of him selling lemonade at various farmers’ markets, making lemonade, and participating in other non-lemonade related activities. And, as someone who usually puts subtitles on movies, I like that 60 Second Docs included subtitle text throughout the documentary.
For those familiar with HONY, Mashable’s 3-minute doc gives a behind-the-scenes look at the person behind the lens, Brandon Stanton. In short, Brandon goes around New York (and occasionally, other major cities around the world) to take photos of the people he meets and publish small snippets of their stories on social media. I don’t believe that a good video has to have *just* video; for example, the start of the doc begins with a few still photos Brandon has taken over the years. Nor does the video use any outside narration, which I think would’ve taken away from this project. This video doesn’t exactly use a lot of B-roll so much as actual footage of Brandon talking to his interview subjects - but I don’t think this is a bad thing at all. There are, however, some good B-roll of screenshots of some of his photography work. The doc utilizes good lighting, and while some might point out the shaky camera, I think this actually lends itself to the authenticity of catching Brandon in action. Lastly, I found there to be a great interspersing of interviews with Brandon to seeing him at work.
I love the mission of St. Jude Children’s Research Hospital, however, I believe more could have been done with Gracie’s story to make this a more visually compelling piece. In the beginning, there is too much hovering over Gracie’s face in the beginning. The length of the shot, along with a few others, feels a bit too long and awkward. The lighting throughout is also not the best. You can’t argue that there isn’t enough B-roll...in fact, there may be a little too much B-roll, and not enough focus on the speaker. Some of the B-roll also seems to jump too quickly at times, and some of the shot choices seem either random (i.e. the shots of the random scientists and hospital objects) or too literal (i.e. the phone, when the speaker mentions calls from the hospital). What I do like, however, are the happy shots of Gracie in the moments when the speaker talks about how happy her daughter was to come to St. Jude. Create Please find below a link to the Pre-Planning Production document for my mini documentary in progress, “A Portrait of the Artist.” It’ll be a human interest profile of a local artist whose medium is charcoal art. I’ve already captured my interview and B-roll on camera, but have yet to figure out the order of the elements and how I should edit them.
Reading & Writing
With every module of film and audio editing, I find myself reading more into the various media I consume. The same is true after reading Chapters 3 and 4 of Tom Schroeppel’s “The Bare Bones Camera Course for Film and Video”...it seems that it’ll be harder for me to read into the details of a movie or TV show I watch to see what sorts of angles and edits were used, and how the editing choices add to the story overall. Schroeppel defines basic sequence shots in Chapter 3, describing a basic sequence as a tool for breaking up one lengthy scene into smaller bites (Schroeppel, p. 48). If an entire scene was filmed using a wide shot, that wouldn’t make for a terribly compelling scene. However when combined with a mix of medium, close-up, and extreme close-up shots, as well as cutaway shots to the secondary character our main character may be interacting with, we can get the context of the whole scene as well as what that secondary character’s reactions may be to the main character. Another interesting editing element I learned this week was the art of cutting on the action. In other words, this would be capturing shots that follow the natural movement of an action. If I were to throw a ball to a friend, the camera would keep an eye on the ball by following it (or at least returning to the action if there is a cutaway in between), even if the camera moves from a wide shot to a medium shot, or vice versa. Research to Inform
While this example uses various elements of film continuity (i.e. following Margaret in a linear fashion - or match on action - as she paces her surroundings, focusing on all the elements that went into making a phone call, etc.), you can skip to 2:30 to see the start of the sisters’ phone conversation to see how the filmmakers set up a traditional phone call frame to illustrate two different sides of the discussion.
I love how this music video is shot as though it is all in one take and that the viewers are taken from one city and into the next in one fell swoop. As we follow the dancers, we see the “match on action” taking place as the camera keeps moving forward and continuously to the right.
(Skip to 1:10 for the start of the good stuff.) I’m not sure if the producers thought to themselves, “Well, we’re nearing towards the end of the season, so we’ll keep this scene as is” or if this would be considered a form of “jumping the shark” but this clip is a good (and hilarious!) example of match on action continuity. Although Carlton starts out by running across the screen from left to right, he switches gears right away and from then on runs from right to left, and the camera people track his movement. Create For my How-To video, I created a 'super' helpful cooking tutorial. The hardest part was finding interesting shots, filming myself, and contending with audio that wasn't as great as I was hoping it could be --- the audio on my phone recorder comes out static-y while my computer's microphone seems to be echo-y.
Reading & Writing
Similar to the camera angle techniques we learned in Module 3, film editing styles are incorporated so seamlessly into films that the amount of time, thought, and creativity film makers put into their projects to do so isn’t always considered. The way that certain movie scenes cut from character to secondary character to various objects and back to the main character seems so natural but require a considerable amount of rationale and expertise to justify editing the scenes in this way. As someone who previously didn’t put much thought into what sort of edits films used or why and how they made a scene compelling, two sets of readings this week have made me more aware. 1. Thanks to Ryan McAfee’s “13 Creative Editing Techniques Every Video Editor Should Know,” I’ve become much more attuned to the most common types of edits I personally have seen in movies, and the effect they have on viewers. Here, I’ve listed and defined the ones that speak the most to me (all 13 can be viewed in the above link):
2. The second reading that inspired me this week was Sue Apfelbaum’s “An introduction to pacing and rhythm.” Pacing, in short, signifies how a film’s story moves over time. Apfelbaum writes: “Long, continuous shots create the feeling of actual time, which, like life, can seem slow when little is happening or rapid if there’s a lot of action. Frequent cuts and short shots quicken the pace, heighten our state of alert, and make time advance more quickly — they can also exhaust the viewer after a while.” Rhythm relates to pacing in that it is the overall result of pacing, Apfelbaum says. A film that contains rapid cuts and movements and incorporates highly suspenseful music may be considered as having fast-moving rhythm; the type of movie that keeps viewers on the edge of their seats. But a film that highlights small details and takes time to do so might have a slower tempo and overall rhythm. Research to Inform
Say what you want about the femme version of the Oceans movies, but I quite enjoyed it. You don’t necessarily need to watch the entire nearly 5-minute clip to see that this heist scene employes standard cuts throughout. It also uses invisible cuts, specifically when the food dish (the main vehicle used for the heist) is being brought from the kitchen, to the wait staff, to table, and back to the kitchen. A match cut is used at 1:12 when Awkafina’s character crawls under the bathroom doors to carry out the next step of the theft. All throughout, cross-cut edits are used to show the different characters' perspectives and their roles in the plan.
(The title doesn’t give anything away, but if you haven’t seen the series and plan to, best not to watch the clip or go too far down the rabbit hole). The opener to Season 3 of BBC’s “Sherlock” was quite a delight for fans of the show but it also serves as a great example for clever and unique editing. Like the “Ocean’s 8” clip, this scene utilizes cross-cuts throughout to juxtapose the perspectives of Sherlock and Watson and how each perceives what is happening. Time is sped up with jump cuts (notably at :08 and from 1:07 to 1:09), and standard cuts are used throughout the whole scene. I caught an invisible cut at :40 when the camera moves from Sherlock’s actions to two people carrying out a dead body.
For this scene, only the first 25 seconds need to be watched in order to see the example of a smash cut that is used. The character Eleven uses white noise to help shut out any distractions from the 'real world' that could interfere with her extrasensory experience. At :25, the white noise abruptly cuts out to silence as she enters The Void. Create Enjoy my Module 4 montage, “A Song for Myself,” featuring my sister. It was quite the learning curve to figure out Premiere Pro in less than 72 hours but I had a lot of fun getting my creative juices flowing. Looking back, and after viewing some of my classmates' projects, I realize there are other, unique shots I could have/should have used but for my first-ever Premiere video, I'm fairly happy with the result.
Reading & Writing
For this week’s module, I wanted to highlight the “12 Camera Shots Every Actor Should Know,” courtesy of one of the best reputable sources - the New York Film Academy. Having spent very little time knowing or taking the time to analyze the impact of certain shots and how they contribute to some of the most well-known, celebrated films in American cinema (such as “American Beauty,” which I recently watched for the first time, “Donnie Darko,” and “Pulp Fiction”), this week's readings and viewings were particularly helpful for me. Without further ado, here is a brief summary of 12 commonly used camera angles:
A key component of the filmmaking process also includes storyboarding. In short, the storyboarding process helps creators visualize what it is they want to capture, in what order, and address any issues that may come up along the way. In his article “Storyboarding Tips: “How to Plan and Visualize Your Next Video,” Mark R. Roberston shares on the importance of completing this crucial step before capturing anything on video. Storyboarding involves creating visual representations of the actual elements that will be included in a film project. It serves as a blueprint that helps filmmakers address any element that may look great on paper but can prove to be problematic in practice. According to Robertson, a good storyboard will include the following features:
Research to Inform
One of my favorite scenes of “Legally Blonde” is when Elle gathers her resolve to thrive at Harvard Law School for herself and not for some dude (a.k.a. Warner). In this two-minute clip, there are several examples of the aforementioned 12 commonly used camera shots. At :08, wide/long angle shots are used to show her at an office supply/campus bookstore and everyone else who is with her. At :32, the same type of shot is used when she walks through the Harvard campus with books in tow. At :42, two-shot is used when Elle and her new ally are in the library. At :55, an over-the-shoulder shot is used when the professor addresses the class, and close-up shots are subsequently used as Elle gives the right answers to the professor.
All hail the best period drama ever! I couldn’t *not* mention the “Downton Abbey” opening credits for this module. Right from the start, the over-the-shoulder shot is used as Lord Grantham and his dog walk across the estate (although it’s more like a right-behind-the-dog shot in this case). Close-up shots are used throughout, but the unique aspect is that with this example, the subjects are objects, rather than people, as the camera pans over the dinner bells, dining set, cooking materials, and lamps.
Ah yes, the classic detention dancing scene in “The Breakfast Club.” This one-minute and 30-second clip utilizes medium shots throughout, as the kids are filmed from waist up as they bust moves. We can also see close-up shots of them throughout and at 1:04 and onward, two-shot is used as the kids pair up and dance across one of the bookshelves. Create Please find below my Pre-Production Planning Document for this montage project, as well as a practice Visual Composition Shot List. I think the hardest part of this process was finding interesting enough ways to take my photos and manipulating the subjects in a way that would fit the requirement of each type of shot. The storyboarding and pre-scripting processes, however, were very helpful in helping my visualize my final montage before I start filming. Pre-Production Planning Doc Visual Composition Shot List
I am not a professional musician but I do have several friends who are, so learning some of the ‘life hacks’ Filippo Gaetani offered in his blog, “7 Secrets for Getting Pro-Sounding Vocals on Home Recordings” was an interesting topic to learn about. As it turns out, you don’t need a big budget or the luxury of living near a recording studio in order to pursue your art. I was fascinated to learn that a few pieces of equipment (i.e. a quality microphone, some computer software, etc.) and a room with enough padding and fabric-y furniture that doesn’t allow sound to reverberate too much will do the trick.
But I found more practical information through Hal Robertson’s 2002 article “Sound Advice: Editing Audio and Video.” In learning the difference between A-roll and B-roll (A-roll is the main focus of a video project, such as an interview with a subject who’s just witnessed a newsworthy event, while B-roll is footage that supplements the main product; i.e. panning over a crowd, a busy intersection, foot traffic, etc.), a good audio/video editor will know that both may perform different functions or have different purposes but are both critical to the finished product. As long as the transitions between each of these scenes is seamless (using fadeouts, cross-dissolve techniques, etc.), it’s more than possible for the film project to incorporate varying elements that are made cohesive and add to the story as a whole. Perhaps most importantly, Robertson recommends that editors edit for the ear first, rather than the eye: “I want you to forget the way you’re "supposed" to edit video and think about the sound first,” he writes. “It can change the whole look of your productions and will certainly transform the quality of your sound.” Research to Inform 1. Netflix’s “FYRE: The Greatest Party That Never Happened” Official Trailer
I chose this clip because it incorporated the imaging and branding of what Billy McFarland touted as a luxury music festival that of course never quite materialized. It utilizes snapshots of compelling interviews by those who were involved with FYRE either as guests or planners, which are alternated with footage of the island, partying scenes, soundbites, and festival music. The entire 2-minute trailer neatly packages what the documentary is going to be about and leaves viewers all the more curious.
By the way, I highly recommend watching both Netflix’s and Hulu’s documentaries about the FYRE Festival. Very fascinating, especially from a marketing perspective. 2. “30 Rock” clip: Liz Goes Corporate “30 Rock” is a fabulous, satirical comedy and was one of the first examples I thought of for this blog. Each episode always uses music that matches the feel or emotions conveyed by the characters (such as in this scene, when Liz resolves to join the corporate world), and the jazzy music used in the restaurant scene, which conveys a sense of elegance that she feels when she’s commandeering the business meeting. 3. The Woody Show Animated Podcast: “Greg Thinks about Death Constantly”
Last module, I used one of my go-to daily podcasts as an example of a great audio project. The creators of that same podcast, The Woody Show, occasionally create animated versions of the the hosts’ personal stories that they share on the air. For this one, the host Greg is the focus of this particular animation. I love that the animation uses suspenseful music, commentary from Greg, and basic sound effects such as a vibrating phone, pouring coffee, and traffic sounds” to make the story about his unnecessary panic come to life.
Create For this module, I created The ClinkCast podcast, a one-time podcast project where two of my friends and I discuss the trials and errors of online dating and how we predict digital dating will change the future. The hardest part of this project was figuring out what to share. Originally, I recorded the three of us having a casual, non-scripted conversation over glasses of wine and breadsticks around 11pm, and ended up with 45 minutes of material. Condensing that into just 3 minutes was the most difficult aspect. The second most difficult part was very quickly learning how to use Audacity and using music and ambient sounds to add something special to my podcast. I didn’t use any special equipment other than my laptop’s microphone and Audacity. I did use some free, public domain music and sound effects to enhance my overall product, as well as the help of some of my friends (and their stories) to help create the podcast.
Reading & Writing
This week’s Audio & Video Design module gave an overview of one of the most important but often forgotten elements when it comes to media - sound.
In Chapter 8 of Tom Schroeppel’s “The Bare Bones Camera Course for Film and Video,” he describes the anatomy of common audio equipment, which he likens quite literally to the anatomy of the human ear canal.
“Microphones are imitations of our ears,” Schroeppel writes, “Every microphone has an ‘eardrum,’ called a diaphragm, which vibrates when hit by sound waves. The vibrations are then converted to an electrical signal which can be broadcast or recorded” (Schroeppel, p. 92). What I found additionally interesting is that speakers work almost like microphones, just in a different order. With loudspeakers, electric signals hit the diaphragm, creating sound waves. Although I have attended many a concert over the course of my short lifetime, I had never bothered to understand how I was able to hear the various musicians I’ve seen perform. The main types of microphones used for sound productions include a lavalier (or a hands-free mike), a standard hand mike, and the supercardioid/shotgun mike (used commonly in television news segments), (p. 98). Schroeppel recommends a dynamic hand mike (p. 102) as the top pick, as it is the most versatile of the microphones. When it comes to the actual sound/podcast production process, Square Tree Marketing owner Kevin Anderson proves that planning what you’re going to say is just as important as how it sounds. For reference, here is the intro to his six-part series, “Engaging Episodes: The Powerful Podcasting series.” As someone whose primary medium is the written word, I find it a bit nerve-wracking to rely on the bullet-point scripting method Anderson recommends. Writing gives me the opportunity to filter what I want to say, and of course, put my best self out there, even if the words I say don’t necessarily convey the ‘real’ me. This is why he recommends the “Invisible Script” method of writing. This method, he says, “comes across so naturally that the listener thinks it’s been ad-libbed.” This is because writing for the ear is much different than writing that is meant to be read - something that sounds great on paper may not necessarily be executed as well in the sound booth. As I think about this, I realize that most of my favorite podcasts or radio shows are near and dear to me precisely because of the conversational flow of the hosts’ talking points and banter. More on that in the next section. Because there is no such thing as the ‘right’ type of podcast, there is a lot of room for someone to decide the rundown of their podcast. But as long as the podcast incorporates all (or most) of these basic elements that Anderson outlines, it’s on the right track:
Final note: I had seen the Star Wars “throne room” clip without sound, which I can only describe as eerily hilarious. Humor aside, it illustrates the importance of sound in film! Research to Inform I’m not a diehard podcast listener as most people in my town seem to be, but I do gravitate towards the following three podcasts the most: 1. “The Woody Show” https://www.iheart.com/podcast/139-the-woody-show-26318098/ (Note: it appears that the podcast that is listed on the site changes every day, so it may be slightly different depending on the day my audience reads this. But the format is pretty much the same for every podcast. The one I’ve linked is from July 11, 2019). Almost every morning I listen to the Los Angeles-based radio station Alt-98.7 and from 6am-10am, I get a dose of “The Woody Show.” The show uses a couple different taglines, such as “Number-one in (insert name of city)” and “Insensitivity training for a politically correct world.” The morning podcast is spearheaded by Woody (hence the name of the show) along with co-hosts Greg, Ravey, Menace, and Seabas. A few reasons why I like this particular podcast: Firstly, all the hosts/co-hosts have unique ‘radio voices,’ personalities, and I enjoy their unfiltered approach to life. Being part of the iHeart Radio enterprise, the show is well-produced and has the budget to match. I’d say that the format is conversational, somewhat of a panel-style podcast. The show also incorporates a variety of fun segments - some of which involve listener participation - including the News segment (usually involving reports about not-so-smart criminals), Redneck News (again, highlighting not-so-smart law-breakers), listener polls, “Throwback Thursday” hits, “Rock Traffic (report),” and my personal favorite, the “Craigslist Freak of the Week” (listeners vote for the creepiest/funniest personal ad. Occasionally, there are interviews with well-known musicians and comedians. Because all the personalities on “The Woody Show” have considerable radio experience, their conversations, transitions, and commentary all flow well. 2. “Getting Curious” with Jonathan Van Ness - “What Makes a Cult a Cult? With Dr. Natalie Feinblatt” (released April 15, 2018) For my fellow “Queer Eye” fans who need something to consume between seasons, “Getting Curious” is a treat. I *believe* this podcast was made even before the Netflix “Queer Eye” revival. Each podcast is about 30 minutes and involves one-on-one interviews between Jonathan and a guest who specializes in subjects he’s curious about - hence the podcast’s name. His guests range from Olympic athletes to art historians to scientists to his fellow co-stars and to people like Dr. Natalie Feinblatt, a cult researcher. The production is high-quality, and Jonathan’s personality alone makes the podcast fun to listen to. Everything sounds conversational and natural and not at all forced. 3. “The Dollop” - “Uber” (released June 5, 2017) Described as “a bi-weekly American history podcast,” “The Dollop” is a hilarious podcast hosted by comedians Dave Anthony and Gareth Reynolds. Each podcast centers on a humorous or bizarre moment of history (though some episodes focus on recent events, such as the Trump administration). Dave Anthony conducts the research while Gareth Reynolds hears the historical facts for the first time, on-air, and gives his commentary at the same time. One of my favorite episodes is on the longer side - I highly recommend listening to the podcast about Uber if you can spare the time. Fair warning - it may make you think twice before supporting the Uber empire. It probably helps that Dave and Gareth already have an established friendship, which adds to the quality of their interactions. The format is nonfiction, narrative storytelling, with a healthy dose of discussion, and the part that appeals to me most - it makes learning about weird American history fun. The podcast is also well-produced in terms of sound (even when they record live episodes), as I know they record in their private home studio. Create Below is the Mind Map I created for my developing podcast project:
Below is the Pre-Planning Production document (with the Mind Map included) I created for my developing podcast project:
I chose this topic because it's one that I've thought about often, as I found that all things digital - including relationships - are becoming more commonplace. I know my own thoughts on the topic and am curious to hear what my fellow peers have to contribute to the conversation. The main challenge will be trying to stay composed and natural as possible, and not relying too heavily on my script.
|
|