The BBC Academy Podcast

Everything from mics and cables to acoustics and technique, BBC Academy Trainer, Marc Settle, shares advice on how to get that perfect recording every time. Dur: 18’40”Presented by Marc Settle. Produced by Sam Upton.

Lighting, stability and zooming are the focus for BBC Academy trainer, Marc Settle. There’s more to filming great video than just pointing and shooting. Dur: 14’19”Presented by Marc Settle. Produced by Sam Upton.

From frame rate, file size and aspect ratio to audio and accessories, before you start the camera rolling, make sure you’re properly prepared. BBC Academy trainer, Marc Settle, considers the set-up you need.Dur: 19’33”Presented by Marc Settle. Produced by Sam Upton.

Covering focus, exposure, composition and much more, BBC Academy expert Marc Settle shares his tips and tricks for the perfect picture.Dur: 22’12”Presented by Marc Settle. Produced by Sam Upton.

From battery, storage and connectivity to accessories and apps, be sure to get the most out of your smartphone by setting it up properly. BBC Academy trainer, Marc Settle shows you how. Dur 17’37”Presented by Marc Settle. Produced by Sam Upton.

As large percentages of younger audiences come to podcasts via YouTube, we ask, is video the new audio? The line between video and podcasts has become blurry in recent years. It's getting harder to say that a podcast is an ‘audio only’ thing. People have been uploading video recordings of their podcasts for years. But what is a ‘video podcast’ - and how do you make a great one? And what about the purists who say, if you don’t have an RSS feed - it’s not a podcast? To help us answer this puzzle, we speak to Alison Lomax, Managing Director, YouTube UK & Ireland and the BBC’s Head of Visualisation, Joe Harland.You can view the visualisation edition of this episode at https://www.youtube.com/watch?v=qUexDfHP2DI

In this episode of Podcastology, we’ll discover some of the ground-breaking new formats pushing the boundaries of what podcasts can do. Often, these innovations come from voices and communities who don’t always get heard. We find out who they are, and how they are taking podcasts in exciting new directions.We’re joined by Nicky Birch, who is the Editorial Executive for new formats in BBC Sounds, and Jesse Lawson, a multi award-winning freelance audio producer, sound designer and community facilitator who makes very innovative podcasts with a vast array of young people and previously unheard voices.

What are the magic ingredients judges are looking for - and do they even exist?? Well, yes, according to awards judges. But how do you quantify them? And what do you need to think about if you are setting out to make an outstanding podcast?We’re joined by people who know the answers to some of these questions: Tomi Dixon, who won ‘best new podcast’ at the Arias, for Colouring In Britain, and Talia Randall, who won silver at The British Podcast Awards in the Environment category, and the Sustainability Award at the 2023 Audio Production Awards, for Blossom Trees and Burnt out Cars. We’re also joined by Hannah Hufford - who is a podcast development producer at BBC Audio and was a judge at The British Podcast Awards.

This sounds like a contradiction - after all, you can listen to podcasts anywhere, and the most successful podcasts have a universal appeal. But, all stories come from somewhere, and as we discover, being rooted in a local patch can bring a real richness to your podcast. There is also a growing trend for podcasts which grow from a local community. We speak to award-winning podcast makers who know what it means to tell local stories: Andy Whittaker, a Sony award-winning radio host and podcast presenter based in Nottinghamshire, and Zoe Chamberlain, producer and presenter of the Brummie Mummies podcast. We’re also joined by Chris Burns, who is Controller of Local Audio for BBC Local and in charge of the 39 Local Radio stations in England.

We’ll look at where the medium is now, and where we think it's headed. We consider the future of podcasting, and what's coming next. What does the growing Gen Z audience want? Can technology make listening a more personal, tailored experience? Will your next podcast be presented by a bot?With some geeky language around ‘personalisation tools’ and the effect of artificial intelligence, we gaze into the future with Aniruddh Dimri, BBC Sound’s Head of Product, Cat Agostinho, Co-Director of Imagen Insights, who researches the Gen Z audience, and the Editor of Pod News, James Cridland.

This podcast tackles sensitive and distressing subject matter, including discussion about extremist groups, suicide bombings, chemical attacks and trauma.You don't have to directly visit a traumatic scene to be affected by it. Vicarious trauma affects those viewing or hearing disturbing material or hearing second-hand the testimonies of those directly affected by a traumatic incident. In this podcast the BBC's Chief Medical Officer Dr Clare Fernandes speaks to journalist Abdirahim Saeed, who works for the BBC Monitoring Team which monitors and verifies social media to pull into the BBC's reporting.You'll learn: • what vicarious trauma is • where it can affect colleagues in the BBC, including the types of roles and subject matter • how to safeguard your health, including limiting exposure to trauma and coping mechanisms • how to support and protect your colleagues • where to turn to for helpAbdirahim talks about what he's seen when covering extremist incidents, including ISIS and Al Qaida attacks and the war in Syria, how it's affected him and how he limits the effects of vicarious trauma on his mental health.This episode is part of a series focussing on wellbeing and mental health. Further episodes can be found by searching for the BBC Academy podcast on BBC Sounds.A transcript of this podcast is available on the episode's programme page.Although aimed primarily at BBC staff, the advice is useful for all those working in journalism, current affairs or other parts of the media industry who may come into contact with victims of trauma or view upsetting material.Help and support If you've been affected by what you've heard in this podcast, please search for support on the BBC Action Line website. You may also wish to contact NHS services, such as your GP.BBC Staff can talk to their team leader, contact a peer supporter or call the Employee Assistance Programme - details are on Gateway. Useful resources can be found on the BBC Headroom website and, for BBC staff, by searching 'wellbeing' on Gateway. Credits The podcast was presented by Dr Clare Fernandes and produced by Kasel Kundola. Production support was from Helena Lyons. Exec producers for the BBC Academy were Ben Toone, Zoey Glasgow and Kirstie Andrews.

When our mental health is fragile at work it can often be difficult to know who to talk to, where to get help or just find someone to listen without judgement. It can be helpful to talk to someone who understands the pressures of the work environment but isn't necessarily a close friend or team member. At the BBC, this role is fulfilled by members of the Peer Support Network. In this podcast the BBC's Chief Medical Officer Dr Clare Fernandes talks to peer supporter and South-East Today Presenter Natalie Graham.You'll learn about: - how peer supporters can support mental health difficulties, including anxiety, depression, stress or crisis situations in work - what a BBC peer supporter is - and what they're not - other support available at the BBC, including the Employee Assistance programme A transcript is available on the programme page for this podcast.This episode is part of the BBC Academy series on wellbeing and mental health in the workplace.Though this podcast is aimed at BBC staff, you might find some of the content helpful if you work, or would like to work, elsewhere in the broadcast media industry.Help and support BBC Staff can find out more about peer support by searching for 'peer support' on Gateway. You can find further mental health and wellbeing resources by searching for BBC Headroom and listening to further episodes in this series on the BBC Academy podcast feed on BBC Sounds.If you're outside of the BBC and need immediate help please contact the BBC Action Line or Samaritans. Staff can contact the Employee Assistance Programme by searching for it on Gateway.Credits The podcast was presented by Dr Clare Fernandes and produced by Kasel Kundola. Production support was from Helena Lyons. Exec producers for the BBC Academy were Ben Toone, Zoey Glasgow and Kirstie Andrews.

How comfortable are you talking about the menopause at work? Given that 70% of those going through menopausal changes are employed and one in ten of those under 45 have symptoms, chances are a colleague or a member of your team may be experiencing it right now.In this episode, part of the Academy series on wellbeing and mental health in the workplace, the BBC’s Chief Medical Officer Dr Clare Fernandes speaks to content producer and BBC menopause champion Justine Bateson.Justine talks about her experiences of perimenopause, how it affected her physical and mental health and about the support she received working at the BBC.In this podcast you’ll learn: • insights into the menopause, including common symptoms and how it can affect your mental health • how to get support for yourself, a colleague or a member of your team • the importance of sensitive line management • the types of support available at the BBC, including Support at Work and the Women at the BBC staff networkThis episode is aimed primarily at BBC staff, especially team leaders, but is beneficial for all.You can find more on the topic of mental health and wellbeing by searching for this series on the BBC Academy podcast feed on BBC Sounds.Help and support BBC Staff can find further help and advice by searching ‘menopause’ on Gateway. All listeners can find support on the NHS website.There’s more content on wellbeing and mental health on BBC Headroom, as well as other podcasts in this series..A transcript is available on the programme page for this podcast.Credits The podcast was presented by Dr Clare Fernandes and produced by Kasel Kundola. Production support was from Helena Lyons. Exec producers for the BBC Academy were Ben Toone, Zoey Glasgow and Kirstie Andrews.

Never forget your audience is there. On occasion you can use them to your advantage to challenge the position of an interviewee. In this minipod, BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker explains how the audience can be your invisible fan club. This is the sixth in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level.Dur 17’06”

Forensic listening allows you to respond to your interviewees’ questions and delve deeper into the story, peeling back the layers of an argument as you do so. In this Minipod, BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker, gives the low-down on digging into the detail. This is the fifth in a series of Minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level.Dur 13’10”

If you’ve done your research the chances are that you’ll already have a rough idea of what your interviewee is going to say. In this minipod, BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker shares his tips on how to prepare for what your interviewee might say. This is the fourth in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level.Dur 11’45”

A confident interviewer needn’t ask long questions. Be curious and wear your knowledge lightly. In this minipod BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker, talks about how to frame your questions and to know when to hold back. This is the third in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level.Dur 13’05”

Pay attention! Listening really carefully to your interviewee can give you the clues you need to unlock whole new areas for discussion. BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker shows how really paying attention can pay off. This is the second in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level.Dur 11’38”

Want to be a more confident interviewer and get the best from your interviewees? BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker shows how focusing on what you want from an interview can make all the difference. This is the first in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level.Dur 9’21”

Good writing connects you to your listeners, grabs their attention and makes them remember your story. BBC Academy trainer, Sam Upton, shares some tips to take your writing to the next level.This is the fourth in a series of minipods on audio storytelling, where Sam shares some insider tricks and tips that'll help enhance your podcast, montage or radio package.Dur 8’40” Produced and presented by Sam Upton.

Let your listener experience what’s happening, as it happens, and give extra magic to your storytelling with a stand-up. Academy trainer, Sam Upton, explains how the stand-up can lend your piece an extra dimension.This is the fourth in a series of minipods on audio storytelling, where Sam shares some insider tricks and tips that'll help enhance your podcast, montage or radio package.Dur 8’37” Produced and presented by Sam Upton.

When you’re tell a story on location, do all you can to take your listener with you.In this minipod, BBC Academy trainer, Sam Upton, shares tips for using writing, sound and stand-ups to give that vital sense of place to your podcast or radio package. This is the third in a series of minipods where Sam shares some insider tricks and tips that'll help enhance your audio storytelling.Dur 8’01” Produced and presented by Sam Upton.

If you don’t use sound to help tell your audio story you make it easier for your listener to “tune out”. Sound can give detail, create atmosphere, act as punctuation, vary texture and more. But how much sound is enough? Listen to find out as BBC Academy audio trainer, Sam Upton, explores the many ways that sound can supercharge your podcast or radio package.This is the second in a series of minipods where Sam shares some insider tricks and tips that'll help enhance your audio storytelling.Dur 9’46” Produced and presented by Sam Upton.

Want to bring stardust to your audio storytelling? In this minipod BBC Academy trainer Sam Upton shares some insider tricks and tips that'll help enhance your radio package, montage or podcast.In this first episode Sam explains how planning your piece can give extra depth to your story. With examples from some of the best in the business she digs deep into the elements which, if used carefully, can make your story stand out from the crowd. It’s not just who you talk to but where you talk to them. And sound really matters.Dur 9’35”Produced and presented by Sam Upton.

How audience insights can guide your podcast planning

The backstage technical wizardry that brings your podcast to your ear

How to talk about politics – and entertain as well

Eli Sessions talks to Louise Kattenhorn, commissioning executive for the BBC pop hub network, Lloyd Shepherd, Head of Product at BBC Sounds, and Emmanuella Kwenorty, who develops podcasts for BBC Sounds. Where do they think the world of podcasts is heading, and how is technology changing the way we listen?

In this episode Eli Sessions finds out how to keep conversations natural, with Hannah Hufford, producer of No Country for Young Women, and Sally Heaven, who produces Evil Genius.

In this episode Eli Sessions looks at those beautifully crafted podcasts that tell dramatic stories in depth. He speaks to Rami Tzaber, the editor behind 13 Minutes to the Moon – which told the story of the moon landing in intimate detail – and the commissioner who made it happen, Jon Manel, the BBC World Service’s commissioning editor for podcasts.

In the first of a five-part series on podcasting, Miranda explains:- what makes podcasts distinct from radio programmes - how the role of the presenter is different from that on radio - the typical situation of the listener – on a commute, listening through headphones - how to create a different relationship between listener and programme-maker

In part two of our podcasting series, hear from Jason Phipps, commissioning editor for podcasts at the BBC, and Louise Kattenhorn, commissioning editor for BBC Radio 1 and 1Xtra.

Georgia Catt is a producer in BBC radio documentaries, who has made an award-winning podcast, Missing, for the Untold series. She also produced Fortunately with Fi Glover and Jane Garvey.Emma Conneely is a producer in the BBC’s podcast team, responsible for getting podcasts published and promoted.Georgia says that although she hates poor sound quality on a podcast, you can still get a good recording using a smartphone – but be aware of the kinds of background sounds you could pick up that can be annoying for the listener.

Promoting a podcast can mean anything from creating an audiogram – a clip from the podcast to promote on social media - to making other digital assets such as quizzes or articles to place online and draw attention to the podcast.According to Rhian, promotion at the start of other podcasts “really delivers figures”. But it depends on “generosity” between podcast producers who are willing to help each other with cross-promotions.There’s also the possibility of a podcast takeover – which is when a podcast feed directs listeners to a different podcast for a short time.The presenters of a podcast are also an asset when it comes to promotion. Their social media presence and appearance on other media can raise awareness and drive audiences.

This episode of the Podcastology series includes a discussion about You, Me and the Big C. We recorded it before the death of Rachael Bland.Although the first podcast featured in this episode is about sports – but ranges much wider than that – and the second is about cancer, for Mike, what unites the two ideas is that the relationship between the presenters is the key.With Andrew Flintoff and his co-presenters Robbie Savage and Matthew Syed, Mike said he was confident about the project as soon as the three first talked together: “We sat outside a studio and within less than five minutes, I knew this was going to be amazing.”The three presenters of the cancer podcast, Rachael Bland, Deborah James and Lauren Mahon, knew each other online before the podcast, but had never actually met in person until they recorded together. When it comes to duration Mike is unapologetic about publishing podcasts that last an hour or more: “If the content’s good, why do you want to cut it down?” he explains.

What production kit should you take when producing radio content in the field?Join BBC Academy trainer Sam Upton and newsgathering field producer Tom Quinn as they talk about what sort of equipment you need for radio production in the field.In this podcast you’ll find everything from:- what type of kit bag to use - which digital recorder and microphones works best - which apps and audio editing software you need - which cables, batteries and extra kit will be handy to take

BBC Three's new comedy Man Like Mobeen has made a big impact through social media. BBC Birmingham director Joe Godwin spoke to executive producer Ben Cavey, as well as star and co-writer Guz Khan, to find out about the making of the programme.Man Like Mobeen is set in Small Heath, Birmingham. The production team felt it was important to film in, and cast from, the local community to give the show an authentic feel. The programme set out to tackle negative media representations and give a voice to an often under-represented community. The four-part series tackles a number of challenging issues, such as clashes between the Muslim community and the alt-right. These themes clearly suit BBC Three's core ambitions: make you think, make you laugh, give you a voice. In this podcast you'll learn:- how to develop a comedy character from scratch - about different ways to break into TV comedy production - why it's important for the media to reflect a diverse range of backgrounds and identities - how Guz used YouTube to build a comedy career whilst working as a humanities teacher in Coventry

The BBC Two drama The Boy with the Topknot was based on a true story. That made the jobs of its writer, producer and director all the more complicated as they worked with actors, commissioners and those who are represented on screen. The 90 minute film the Boy with the Topknot, shown on BBC Two, was eight years in the making. It was adapted from a memoir by the journalist Sathnam Sanghera about his upbringing in Wolverhampton and relations as an adult with his family. Jessica Dromgoole asked Sathnam Sanghera, the film’s producer Nisha Parti and its director Lynsey Miller about how the film was made and how their work was affected by its portraying living people – including Sathnan and his parents. The podcast presents highlights from a recent event at BBC Birmingham chaired by Jessica Dromgoole, a BBC drama editor.

It's been running continuously since 1951, comes in 12 and a half minute episodes and was originally billed as "an everyday story of country folk". It's sandwiched between bursts of the unforgettable Barwick Green theme (dum de dum de dum de dum; dum de dum de dum dum).The Archers is a national institution. BBC Birmingham, where it's produced, recently held an Archers weekend, so that fans could find out more about the series. As part of it, at an event in the Archers recording studio, an audience heard from two actors, a writer and a producer on the series about their jobs and a wealth of interesting details about the how the series is made.This BBC Academy podcast presents highlights from the event, where you'll hear about- how the Archers is written - the invention of the character of Rob - how Lilian and Justin's bedroom scenes are recorded - how the child actor playing Henry never knew about the disturbing scene between Rob and Helen that he was part ofTaking part were actors Sunny Ormonde and Simon Williams, writer Tim Stimpson and producer Kim Greengrass.

Daytime television was once thought of as the nursery slopes of a TV career. Today its complex formats and production requirements are seen by many as more challenging than peak-time programming. “You will learn more making a daytime show than any other.”– Rachel Innes-LumsdenSmaller teams, smaller budgets and tighter schedules mean there’s little room for error. That makes a daytime production team a well-oiled machine where everyone knows their job.Street Auction (above) and Dom on the Spot are two BBC One daytime series that were given the green light by commissioning editor Lindsay Bradbury. Alongside Lindsay in this week’s podcast are Julia Foot, series producer of Street Auction, and Rachel Innes-Lumsden, executive producer from the independent production company TwoFour which makes Dom on the Spot In this podcast you’ll learn:- the pros and cons of working on daytime programmes - the daytime TV production process - the relationship between commissioning editors and programme producers - the schedules for daytime productionsFind out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

In an era where fake news is fashionable, data can help distinguish the facts from the fiction. But how do you interrogate a spreadsheet and hold the data to account? And how can journalists use data to find stories?The BBC has placed the "interrogation of data" at the heart of its annual plan for 2017/18 and subsequent three-year strategy. Around 12 new staff are being recruited, including data journalists, data scientists, developers, designers, a cartographer, and a first head of statistics who will start in August 2017. Data is clearly becoming an increasingly important storytelling tool. But is data journalism new? And is it a specialist skill or can anyone do it? In this podcast you will learn:- the skills you need to be a data journalist - what makes a good data story - if you need to know how to code or be good at maths to create stories - how 'scripting' can be useful when working with data - how long it takes to learn the spreadsheet skills you need to work on data stories - how quickly you can go from idea to publication"I really hope that sometime in the future we drop the term 'data journalism' because it's just journalism" – Helena BengtssonPresenter Daniel Wainwright of the BBC England Data Unit is joined by BBC data journalism editor John Walton, Guardian data projects team editor Helena Bengtsson and Paul Bradshaw who leads the new MA in Data Journalism at Birmingham City University.Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

With more and more cyber-attacks in the headlines, including this year's NHS attack, BBC Information security specialist Andrea Walker and BBC News technology broadcast journalist Chris Foxx cut through the jargon to show you how to defend yourself against online threats. "We have to keep our information safe so we're not letting other people know where our children are, or our bank details, or where we're going on holiday."– Andrea WalkerIn this podcast you'll learn about:- the significance of cyber-security - the different types of online risks - spotting hazards - protecting your social mediaFind out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

The BBC wants more women to apply for engineering jobs but the advice given at a recent BBC Design & Engineering event could be useful to everyone.In this podcast you’ll hear: - what it’s like to work at the BBC - tips on how to approach a job application - thoughts about changing career direction and goals - specific advice for womenThe question-and-answer session was chaired by Rebecca Salsbury, interim director of platform in BBC Design & Engineering. The panel included:- Frances McNamara executive product manager at iPlayer - Sareh Heidari, a software engineer in BBC News Products & Systems - Murray Fortescue, head of architecture and engineering for Audience Platform - Dave Walters, head of product, systems and services for BBC TV, Radio & ArchivesAs Sareh Heidari said at the event, “almost pretty much whatever you’re interested in, there’s probably a role for you here at the BBC”.Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

Virtual reality (VR) and 360 video are the new cool kids on the media block but how will this impact media organisations? Over the past couple of years, projects have been produced on a wide range of subjects, such as Notes on blindness, The Arctic and even one filmed from the International Space Station. The BBC has produced its own VR content too.There's no doubt that VR and 360 both give the user something extra, taking them somewhere they couldn’t go in real life and providing an 'experience' rather than just something to watch. So how should media organisations approach the challenge in terms of creativity, production and distribution?"You have to be prepared to hand over control to your viewers which has implications for how we report on TV."– Zillah WatsonIn this podcast you will learn:- the difference between VR and 360 video - how broadcasters are currently using VR and 360 - how other industries are using VR and 360 - what's augmented reality (AR) and mixed reality (MR) - will there be a killer app? Zillah Watson, from BBC Research & Development, is an editor who’s been responsible for a number of VR projects at the BBC. She wrote a recent report for the Reuters Institute on VR and 360 in news organisations.Si Lumb is a senior product manager for BBC’s Research & Development Future Experiences team.Rebecca Gregory-Clarke is the lead technologist for immersive technology at Digital Catapult, a government-backed agency that promotes technological development in the UK.Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

The Radio 1 breakfast show with Nick Grimshaw achieves more than five million listeners a week, thriving on a diet of the latest music releases, news and guests. The BBC Academy's Roxy Ebrahim-Khan spoke to producer Will Foster, assistant producer Fiona Hanlon and Nick Grimshaw himself to find out what it takes to work on this fast-paced show.In this podcast you'll learn about: - the different responsibilities of presenters and producers - the preparation that goes into each programme - what's most challenging and most enjoyable about working on the show - team dynamics - ways to get your first break in radio"If it's a good vibe in the studio and we're getting on as a production team you can hear that on the radio. You want to be part of it - it feels inclusive." – Nick GrimshawThe production team also shone a light on staffing issues, booking guests, roles within the team, where they get their ideas from, and what happens if teams don't get on or guests don't work out. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

Billions of people are using chat apps. Can brand owners and broadcasters make themselves part of these private conversations? And should they?The BBC World Service, the Weather Company USA and youth-led creative network Livity have been exploring ways to engage with these hard-to-reach audiences.This podcast explores how organisations are using short animated images such as gifs as well as chatbots - computer programmes which simulate conversations with humans - to become part of the conversation in private spaces.Communications on these text, email or instant messaging apps is referred to as 'dark social' because, unlike a Facebook share or a retweet, it’s harder for brands and broadcasters to see what’s going on ‘in the dark’.In this podcast you'll learn:• how big-name brands are using ‘dark social’ to promote themselves • what the Weather Channel learnt from audience interactions with its chatbot • about the insight the BBC World Service gained from its first attempt to deliver original journalism via a chat appThis podcast is presented by Charles Miller, editor of the BBC Academy blog. He's joined by BBC World Service assistant editor Vladimir Hernandez, series-producer of Young, Angry and Connected, a story of political activism in Africa and the BBC's first WhatsApp journalism project.Also on the panel are Alan Bryant, a planner and strategist at Livity, which helps organisations reach young people, and Domenic Venuto, general manager of consumer products at the Weather Company in the US.Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

Editing an hour-long factual film can take a couple of months. The editor and director work closely to make the most of what’s been shot and to tell the story as clearly and engagingly as possible.This week’s podcast goes into the cutting room to examine this intense and creative process with two experienced professionals.Sam Billinge is a factual film editor who has worked on a wide range of documentaries for the BBC and other broadcasters in genres including science and business.Jacqui Farnham is a former BBC producer/director and series producer who has made films for Horizon, science biographies and social history programmes."The film-making process is personal as well as professional. You’re making subjective decisions based on your own feelings and instincts." – Sam BillingeThe podcast includes Sam and Jacqui’s take on:- how to brief an editor at the start of an edit - who writes the commentary and picks the best bits of the interviews - how an editor can bring the director a fresh perspective on the rushes - how to handle viewings - what happens in the closing days of an editSam and Jacqui also discuss the pressures created by having to rely on a colleague who you may never have met until the start of the edit.Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

BBC Three won this year's Royal Television Society Channel of the Year award despite no longer being on television. But how have its commissioning and production processes changed? The BBC Academy's Jas Rao spoke to controller Damian Kavanagh and assistant producers Poppy Begum and Catriona White. "There’s an opportunity in this world about really listening to your audiences and trying to tell stories that will provoke them to have conversations and form communities."– Damian KavanaghIn this podcast you'll learn about:- connecting with audiences - the BBC as a youth brand - pitching programme ideas - the skills required of online content producersFind out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

You can use sound to tell stories in different ways - whether that's a soundtrack, a character's voice or sound effects for a radio drama.A recent Producers’ Forum session at the BBC studio used by The Archers and Home Front saw a lively debate about the range of skills required in sound production.BBC Academy director Joe Godwin spoke to Neil Hillman, an award-winning sound designer and editor, Marc Silk, a voiceover artist for cartoons, video games and films, and Alice Truman, a soundtrack composer in film, radio and TV.In this podcast you will learn:- how a sound designer creates a film soundtrack - whether to use a boom mic or radio mic to record on location - how a voiceover artist creates characters - how a soundtrack composer works within a film production - how to turn an ironing board into a farm gateArchers editor Huw Kennair-Jones and Home Front editor Jessica Dromgoole meanwhile explain how they use props in their recordings.Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

In this era of data journalism and interactive online content, what else can people trained in writing and broadcasting do to tell their stories and reach wider audiences? Coding is one answer.BBC data journalist Daniel Wainwright spoke to BBC News Labs engagement producer Allison Shultes, software engineer turned journalist Niko Kommenda and assistant professor in information and communication studies at University College Dublin Bahareh Heravi."We need to have skills to be able to crunch this data and bring different datasets together to come up with stories." – Bahareh HeraviIn this podcast you'll learn more about:- what exactly is meant by ‘learning to code’ and what it allows journalists to do - why newsrooms are looking for hybrid journalist-coders - what all journalists need to understand in order to work with developers in a 21st century newsroom - how journalists can get started with codingFind out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy