Adding Audio: The Make/Break Captivate Difference

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Curtis Webb
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1 604 Adding Audio: The Make/Break Captivate Difference David

2 Adding Audio the make or break Captivate difference July, 2009 David S Locke WordSmith LLC Who David Locke, principal with Wordsmith, LLC consulting, training, developing information systems since before-- well, a long time certified in several authoring and presentation tools based (my family says) in New Hampshire and on airplanes more Who: bias focus: online information systems standalone: schools, encyclopedias, financial services company policies/procedures software linked: online procedural help blend point: primacy of the word definition of video s place Page 1

3 What we re doing 1. Constraints and guides 2. Planning 3. Mechanics and tools 4. Content and methods 5. Adding audio as a consumer visual stuff is suspect speed and volume freedom and control typical: lowest common denominator as an author so much bad stuff (examples) ROI? for true? what we don t know about how we know Page 2

audience challenges average adult attention span Medina s model three critical user questions: o time, place, subject user questions The first two fairly easy: How long is this? Where am I?

4 audience challenges average adult attention span Medina s model three critical user questions: o time, place, subject user questions The first two fairly easy: How long is this? Where am I? Third more complex, with facets: Why am I here? or: What s expected of me? What am I supposed to learn? What comes next? user control Movie types rank on a spectrum of control, which audio can mitigate: Page 3

5 context and control Full program control generates opposition so-- Adults want control but-- Adults don t use control well tested learning learner self-ratings correlation = zero audio, memory, learning Issues around sensory input, timing, and memory: VOE short term memory processes synchronizing crosstalk If this seems too neat it probably is. Page 4

6 synchronicity Powerful relationships among data streams. Process at distinctly different speeds and methods. Audio, visual, verbal streams can work together or cancel each other Example (Clark & Mayer, 2003, 17-20) goals use audio to enhance, extend, deepen at least do no harm Where we are 1. Constraints and guides 2. Planning 3. Mechanics and tools 4. Content and methods 5. Adding audio Page 5

7 planning preview Experience ahead what you want your users to see and hear: find sights, hear sounds seek out points of loss planning plot or do? Two planning methods: from ancient Greeks: addie from Michael Allen (et al): prototype planning models, methods analyze design develop implement evaluate minimum data define focus do Page 6

8 planning models planning blended Some form of storyboard: can blend the best of both is essential for most audio will vary with recording methods and planning a storyboard model Page 7

9 planning a planning process 1. Define audience groups 2. Define the purpose and need 3. Outline the basic structure 4. Storyboard 5. Create pilot 6. Record pilot audio 7. Add audio 8. Demo, evaluate 9. Edit successive approximations Where we are 1. Constraints and guides 2. Planning 3. Mechanics and tools 4. Content and methods 5. Adding audio tools on the head Plantronics Audio series (dot Audio), price range from $35 to $60. Higher end gets stereo headphones, better mikes. Andrea NC and ANC (noise canceling; active noise canceling); price range from $25 to $80, includes mono and stereo headsets. Sennheiser -- Active noise canceling, superior microphones, recent price drops (under $100). PC 156: both jacks and USB Page 8

10 tools stay-at-home Formats wav (very large) mp3 (much smaller, more flexible) Captivate Internal recording, editing a good place to start May not end up there tools recording software Audacity From Sourceforge, an open source provider. You can download a free package. The good guys pay a fee to help maintain software development. NCH Swift Sound An Australian group offers a version free for a limited time, hopes you ll upgrade to the Master s version. Where we are 1. Constraints and guides 2. Planning 3. Mechanics and tools 4. Content and methods 5. Adding audio Page 9

11 attachments Captivate allows audio tracks as: background (attached to movie) attachment to any object attachment to slide (s) and -- they all can play simultaneously slide audio length slide by slide across several slides meandering until done length trade-offs Choice is an intersection: audio purpose recording ease consistent voice, tone replacement and maintenance Page 10

12 audio length highly recommended: human touch voice and manner professional vs. local trust issues scripting and notes conversations with users sync single most important time-consuming piece of work Page 11

sequence Where we are 1. Constraints and guides 2.

13 sync audio and other Snapshot of disaster: chaotic mix of data from visual verbal audio lead, lag, or mix Stacking sequence Where we are 1. Constraints and guides 2. Planning 3. Mechanics and tools 4. Content and methods 5. Adding audio Page 12

14 record, add in Captivate Captivate s audio helpers notes tracking slide captions record, add in Captivate 1. Record single slide 2. Add and edit in slide editor record, add in Captivate 2 1. Record multiple slides 2. Add, edit in project editor 3. Contrast sync methods Page 13

15 record, edit externally 1. Short takes 2. A multi-slide recording import methods Beware the import options: import options 1. Stretch slide to fit audio length. 2. Stretch slide to fit audio, open editor. 3. Leave slide timing as is, lay audio over. Page 14

16 project editor 1. silence and levels 2. interaction of audio with other objects sync, contrast, compare 1. lead examples 2. lag examples 3. mixed going beyond audio adding persona bringing it to context Page 15

17 Thanks and contact Questions? Thanks for attending Contact: Page 16

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