RADIO. (and voiceover)
Why the following examples are in the portfolio
It has been claimed that radio is the Theatre of the Mind.
In fact, all media is just that, but radio is the fundamental building block for nearly every other electronic media, or at least, the elements of radio comprise those blocks. These include a linear timeline decorated with dialog, music, and sound effects. Sometimes all three, sometimes just one or two. It is on this timeline that the bulk of content depends, despite the loving attention (and budget) given to the picture, lighting, and the on-screen talent. Television without sound is a technical problem. Television without a picture is called Radio. You can get nearly the entire story by simply listening. The world is becoming more aware of just how important the audio is, and how quickly poor quality audio says "amateur" to the consumer.
Understanding how to build radio commercials gives students the ability to build a soundtrack for *any* time-based media, obviously for radio, television, and web, but less obviously for gaming, kiosks, interactive consoles, voice-controlled devices, equipment to assist those with disabilities, and more. Therefore, showing students how to build commercials for radio is the first, primary skill Mr. Ball teaches in production classes. Of course those blocks are then used to teach audio for video.
Mr. Ball has been active in radio since 1974 and got into television as soon as he could, and then, often as possible.
Here are two portfolio portions from radio, or the web, depending on the concept, plus a student example. All three contain radio voiceover work from Mr. Ball, and thus serves both aspects of the portfolio.
- The first is a commercial currently running on Pandora.
- The second is a commercial for Idina Menzel, Tony-award winning star of Rent and Wicked and Glee, in concert at the Red Rocks Amphitheater in Colorado.
- The third is an example of the soundtrack for a TV commercial on behalf of the Boise Symphony.