Self Advocacy Video Series

Self Advocacy Video Series

Self-Advocacy

ELEARNING VIDEO SERIES

 

A multi-part series of videos for Advocacy Tasmania

Advocacy Tasmania approached us to assist in creating a series of eLearning videos. Advocacy Tasmania’s professional advocates to an amazing job helping vulnerable people to stand up for themselves, but they wanted to produce an easily consumed series of videos to help empower people to start making those first steps themselves.

Given the diverse audience, including elderly, disabled, and vulnerable community members, our commitment to accessibility took centre stage. We employing simple, conversational language in scripting, cast articulate and friendly on-screen talent from Advocacy Tasmania’s staff, and recorded all seven videos across a tw0-day video shoot.

 

Animated text and iconography (designed for maximum digestibility), music selection and a sound mix finished the videos off, and they went live across Advocacy Tasmania’s social media channels shortly after!

Audiobooks

Audiobooks

Audiobooks

AUDIOBOOK RECORDING, EDIT & MASTERING

 

It’s been our pleasure to assist Penguin Random House with a number of audiobook recordings, for authors including Richard Flanagan, Meg Bignell, Debi Marshall, and more…

The team at Very Serious Media are absolute professionals. Nick is friendly, efficient and skilled, and always goes above and beyond to make sure our narrators enjoy their time in the studio

Veronica Eze

Lead Audio Producer, Penguin Random House

Our relationship with PRH started back in 2021 – they needed somewhere Hobart-based to record Marta Dusseldorp’s narration. As luck would have it, we had just moved into our premises in Murray Street, so Welcome to Nowhere River became the first project for our brand new vocal booth.

Over the course of a couple of weeks, Marta and Meg worked with us in the studio to record a fantastic spoken word interpretation of Meg’s novel – almost twenty hours of raw recordings in all!

A quick-turnaround editing and master process whittled it down to a tidy twelve-and-a-half hours, which was submitted to the publisher and quickly approved.

 

The audiobook came out in early March 2021 to great acclaim. Mostly for Meg’s wonderful story and prose if we’re honest… but it sounded pretty good too!

Since then we’ve recorded several additional titles for PRH, and it’s always a delight to help them tell these amazing Australian stories.

Tassie Harvest

Tassie Harvest

Tassie Harvest

TV COMMERCIAL POST PRODUCTION

 

Hobart communications firm CorComms approached us to handle a fast turnaround post-production job on this TV commercial

Cor Comms provided us with the production assets – interviews and B-roll, a number of graphic design elements, and VO/music tracks. They wanted it all put together into a 30 second TV commercial with a quick turnaround, and then released to various television broadcasters.

We brought in all of the elements, and selected/assembled the appropriate shots to best fit the messaging.

We also implemented some light animation to bring the supplied graphic design elements to life.

A quick audio mix, some subtle sound design, a tech check, and it was all ready to dispatch to broadcasters.

 

The finished commercial went to air on all Tasmanian commercial stations, as well as across a variety of online/social media channels.

Cor Comms and DPIPWE were both very happy with the result.

 

“Thanks mate, we love it!”

Adrian Smith – Cor Comms

Studio Ilk Showcase

Studio Ilk Showcase

Studio Ilk Showcase

WEBSITE VIDEO

 

Hobart architecture firm Studio Ilk came to us to create a beautiful online video showcase of their work.

Hobart architecture firm Studio Ilk wanted to bring their portfolio to life with a stylish video presentation for their rebranded website. There was no time available to coordinate visits to each site to capture moving vision, but we were able to access a selection of beautiful photography of the various sites. We elected to build a dynamic, layered slide-show video which they could use as a website background.

We applied a number of motion layers to the images – floating particles, light flares, and layered transition elements – in order to bring life and movement to what might otherwise have been quite a static slideshow. We also carried these treatments across to the photographer’s credits.

Once the final version was approved, we provided the file to the client’s web developers, and they incorporated it into the website at www.studioilk.com.au.

Studio Ilk Director Kate Symons was extremely happy with the finished product:

“Thanks for producing the video for our website holding page so quickly!  We are really happy with the finished product and we have had some fantastic feedback from existing and prospective clients already”

Little J & Big Cuz – Palawa Kani Voice Dub

Little J & Big Cuz – Palawa Kani Voice Dub

Little J & Big Cuz

PALAWA KANI VOICE DUB

 

The producers of this Logie-award winning TV series asked VSM to handle the dubbing of two episodes into Palawa Kani – a reconstructed language based on those once spoken by Aboriginal Tasmanians.

The first thing we had to figure out was how we were going to record and edit dialogue in a language that we didn’t speak!

The solution was a dual-language script, with each line numbered, and written in both English and Palawa Kani. This gave us a roadmap which we would be able to follow throughout the dialogue editorial process.

The performers were all selected from the local indigenous community, many of them were kids, and none of them were professional actors.

In order to keep everyone as comfortable and relaxed as possible (and thus get the best performances), we recorded the whole group in the same room – no soundproof booths, no headphones, just a nice comfortable room with plenty of natural light.

Copious notes and project markers were kept throughout the recording session, which came in super handy when it came time to create the final voice track.

Back in the edit room we assembled the Palawa Kani takes into the episodes using the original English tracks as a timing-guide. We had to work with the existing edit and animation, so we had to select our voice takes based not just on the best performance, but also on timing and lip-sync. REAPER’s fantastic Elastique time-stretching algorithm proved invaluable here, allowing us to massage the Palawa Kani performances to fit the original dialogue timing while still sounding natural.

The final step was to combine the Palawa Kani dialogue back together with the supplied Music, SFX, Atmos and Foley stems to create a new mix, and supply it back to the production to create the final master.

 

Both episodes turned out great, were well received by both the producers, and the public, while also garnering a good deal of media attention.

This was a really interesting project to have been involved in, and presented a unique set of technical and creative challenges to be overcome, but it was an absolute privilege to have been involved.

We look forward to season 3!