Crimson Skies: Radio Liberty!

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Crimson Skies: Radio Liberty!

Postby Igor » Mon Nov 09, 2009 12:24 am

The Series Concept:

Crimson Skies: Radio Liberty is a new fan-produced audio drama produced by Silvertongue Productions. It will be a three episode, proof of concept, mini-series to be released at monthly intervals, based on the premise of a news programme broadcast by a radio station on a night club / casino zeppelin called the Pascal. Registered in New Orleans in the nation of French Louisiana, Radio Liberty broadcasts from various locations on its round the world cruise, mostly in international waters. They report on the news “without fear or favour” making them enemies and friends amongst pirates and militia who see them as either a force to be respected or hated. Sometimes the Pascal and Radio Liberty are simply bystanders in the drama that goes on around them but as the story goes on they start to become the focus of events in the complex political arena of central America and the Caribbean and a major player in the struggle between good and evil that is shaping the destiny of nations across the world.

The content of our 'news reports' (our script) will be based on Crimson Skies canon literature (the sourcebooks and licensed fiction), various fan works (including fan fiction and game scenarios) and historical events and people. Each 10-15 minute episode will be self-contained but plot threads will run throughout the mini-series. The format of the episodes will be based on research to make it as historically accurate as possible without compromising dramatic effect and will feature period swing and jazz music.

The Theme:

This is primarily action / adventure and as such shouldn't be expected to have deep and meaningful themes, in fact one of the characteristics of '30's pulp fiction is that it is very clear cut, usually good versus evil, with both sides standing out in black and white.

However any plot without a message is ultimately unfulfilling. Our production will be speculative fiction that builds up a picture of “The Fractured States of America” that is as plausible as possible, given the events and conditions, to explore the way that different people react within it.

Personally I see Crimson Skies as an exercise in anarchy - the freedom of individual regions above larger national groups - which ultimately questions the civic responsibilities of individuals: what is the dividing line between personal freedom and the pursuit of happiness, and our responsibility to society? Is it defined by the laws of the land or ethics and morals? Through subliminal games of 'truth and consequences' the crew of Radio Liberty will hopefully make the listener see their own world in a different light.

The Target Audience:

You can't hope to design something unless you know who your target audience is so, who would we expect to be interested in this audio drama?

Crimson Skies fans, past and present. Whilst there might not be too many still active in Crimson Skies gaming, the general feedback the mention of Crimson Skies gets when mentioned on forums is, "Damn, I loved that game! Why can't they do something like that now?" I expect that this will re-kindle interest in the game with a lot of past gamers and in so doing encourage the copyright owners to create new games and entertainment media.

Pulp genre fans. Crimson Skies is a classic example of the pulp genre. If we do this right, we could gain a large following from this section of fandom, both from fans of the originals (the Shadow, Sam Spade, R.E.Howard's books...) and new media based on it (The Red Panda, Sky Captain, Raiders of the Lost Ark...)

Old Time Radio (OTR) fans. Whilst I will not be doing the whole production as a faux-OTR piece, the parts that are meant to sound like radio will be as authentic as possible. I'm hoping that OTR fans will see this as bringing their genre into a modern context.

Swing / Jazz / Big Band fans. The music of the production will be as authentic as possible and to do this legally we have two options: original music composed for us, in particular our theme, and music from 1937 that is now in the public domain. This should, again, be a way for fans to see their favourite work brought into a new production, so that it will be of interest to contemporary jazz fans as well as jazz historians.

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ANNOUNCER: Stay tuned for more adventures in Crimson Skies from [BEAT]
ANNOUNCER: Radio Liberty!

Igor de L'Stok
Producer, Silvertongue Productions

Posted on TrekUnited, Audio Drama Talk, Voice Acting Alliance
Last edited by 1 on Igor, edited 0 times in total.

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Re: Crimson Skies: Radio Liberty!

Postby Grant » Mon Nov 09, 2009 1:33 pm

To Igor (Because I changed his thread!).

As this is a big thing, and quasi-official, I'm gonna sticky this :D

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Re: Crimson Skies: Radio Liberty!

Postby Thom » Mon Nov 09, 2009 5:13 pm

I'm getting excited about this project!
Flying the Crimson Skies

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Casting: Director/Sound Editor

Postby Igor » Sun Nov 22, 2009 12:57 am

Casting: Director/Sound Editor

End Date:
Applications will close on December 4 and a decision sent to applicants on December 6. The short notice is because I want to get a teaser/trailer out in December so I will want to close casting on December 11.

Reply to:
Igor de L'Stok at <>

  • Who are you? You don't need to give me a curiculum vitae (although they can be very impressive) but I would like to know something about you. Are you an extrovert, an introvert, do you live in an attic churning out advertising copy and crave a virtual life or are you, by day, a millionaire with a secret identity fighting said-bookisms, Mary Sues and bad grammar at night?
  • What have you done? Previous experience is vital since this production is not a project for a beginner (although if the director wants to take on a staff of his own, this would be great!). A list of previous works with links will do but I'd particularly like to hear what you think have been your biggest challenges and triumphs.
  • What would you like to do? Read through this post and the treatment (see previous post) and give me your thoughts on the direction that you would take. Be as general or specific as you like, but your vision will be pivotal to our success. I am looking for partner in a team here, not someone who is just doing a job.
  • How would you do it? The production will be a combination of straight audio drama, music sourced from public domain originals and faux radio transmissions. How would you achieve these? What specific problems can you see and how would you overcome them? What hardware and software resources do you have access to? On application I will send you a final draft of the first episode's script if you want to be specific.

General information:
Good sound editing is vital to the success of any audio production. Whereas a movie has a whole crew of cinematographers, editors and special effects departments under the artistic control of a director, pretty much all of these jobs are done by the sound editor on an audio production. This is why I am advertising for a director rather than just a sound editor because in essence it is their job to turn the voice actors lines into a finished audio drama.

In Silvertongue Productions, the director's roles and responsibilities are...
  • An equal say with the producer in the creative choice of Voice Actors and power of veto if the audio quality is too poor for them to work with.
  • An equal say with the producer in the choice of incidental music and sound effects
  • To take the Voice Actor's submitted lines, adjust volume levels, clean them up, edit them to length and assemble them along with music and selected sound effects to achieve the maximum effect.
As producer I see my role as being in charge of the organisation of the production and the director's role as being in charge of the artistic and creative decisions. In all promotional material the director will get equal billing to the producer. As such we need to be in agreement right from the start as to the style and content of the finished production and the best place to start is to read through the Treatment I have posted earlier. Some additional material ...

The Work Method:

  • Producer to create Treatment, Draft Storyboard
  • Producer to nominate director, sound editor, script editor, IT and publicity support
  • Producer to call for story submissions
  • Script editor to complete story, write-up as script
  • Producer signs off pre-production script and storyboard

  • Producer or Director posts Casting Call
  • Producer and Director decide on VA parts, notify cast and get coms details
  • Script editor updates Production script and storyboard
  • Script editor distributes productions scripts to VA's
  • Director acquires sound effects and music

  • VA's record and return parts
  • Director edits VA's lines and assembles with music and sound effects
  • Webmaster creates website

  • Release of ep.1 Jan 1
  • Decision to continue to Season 2: Y – Commence Concept N - AfterParty!!!
  • Release of ep.2 Feb 1
  • Initiate “Lessons Learned”
  • Release of ep.3 Mar 1

As the originator of the production concept, I will be the producer of this mini-series and reserve first right of refusal on production of the next. My major responsibility will be project management, the creation of the work method & storyboard, definition of position responsibilities, the advertising for and choice of the major crew positions and a joint say in the choice of Voice Actors. Once crew positions are filled, their jobs will be their responsibility and I generally do not micro-manage, however I reserve the right to serve as final quality control at pre-production and production milestones. During production my major responsibility is monitoring, planning, organisation and communication to help everyone work together as a team and achieve our group goal.

Because the episode format is compartmentalised we've been able to have three fan writers collaborate in the series by contributing material that will be the backbone of the three episodes. Initially I have acted as head writer and script editor to tie all the pieces together, but in future seasons this could be done by someone else.

This position is vital to the success of the production and if it can't be filled we'll have to postpone until it can. The sound director's responsibility is to turn the script into a finished audio production. They will have an equal say in the creative choice of Voice Actors and power of veto if the audio quality is too poor for them to work with. The choice of music and sound effects will be theirs but their major job will be to take the Voice Actor's submitted lines, adjust volume levels, clean them up, edit them to length and assemble them along with the music and selected sound effects to achieve the maximum effect.

There will be a casting call posted on all the major audio drama forums as well as distributed amongst the Crimson Skies fan community. Auditions will be accepted and the parts given to the best delivery with an acceptable sound quality as judged by the Director and Producer

Not absolutely essential but a better website can be made if it is created and managed by one person who has expertise and can concentrate on it. Likewise, the best production in the world is wasted if no-one knows of its existence so a person who will write and lodge posts on all the forums of interest for example, will be a real asset to the production.

The Organisation
This is the public discussion forum for the production, where people can discuss the production with the cast and crew, and where news is first released. For the forseeable future It will be sited in the Tall Tales and Taller Exploits sub-forum of the Montana Raiders Crimson Skies forum. <>

This is a Google Group that is open to cast and crew on an invitation basis rather than an open group to the general public. Membership of the Production is on the understanding of non-disclosure – that is to say that members are not allowed to leak anything posted to the Production Group without permission. This is not because of any worries about cultural espionage but simply so that spoilers do not ruin the listener's surprise before an episode is released.

This is a public website, address undecided as yet, where the episodes and promotional material will be available for download and credits and hyperlinks listed.

If all this organisation sounds rather anal retentive and over-the-top <shrugs> that's what project management is all about. By defining roles and responsibilities and agreeing on methods and goals right at the start there are no surprises along the way and everyone knows where they stand.

Igor de L'Stok
Producer, Silvertongue Productions

Posted on Silvertongue Productions, Audio Drama Talk.

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Radio Liberty names Director!

Postby Igor » Sun Dec 06, 2009 1:59 am

I'm excited to announce that we have been exceptionally lucky to have scored the services of Brian T. Weingartner who not only has a strong professional background in sound mixing but has wide experience as a Jazz/Ska trombonist. Checkout his website and myspace for more details.

Brian has recently moved to Vancouver BC and we just dropped lucky that he was interested in getting into audio drama as I advertised for a director. He's 100% behind us and is firing off suggestions for soundscapes already! The energy level here is great and just what we need since Crimson Skies is about extremes - exciting battles, tension and intrigue, romance and comedy!

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CONTROL TOWER: Seattle Control to airship Pascal. Over
CAPTAIN: Pascal here. Over
CONTROL TOWER: Airship Pascal you are cleared for takeoff. Good luck [BEAT] You're going to need it! Seattle Control Out.


Igor de L'Stok

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Re: Crimson Skies: Radio Liberty!

Postby Ebak » Tue Dec 04, 2012 10:53 pm

I so wish this was still going on, I would love to provide my voice for a Crimson Skies audio drama.

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