Video journalism -Come into the light

This is version one of a promo created for Camp VJ. About to do some colouring and some post effects for later version

Find more videos like this on Camp Video Journalism

Lets play video journalism tag

Last few weeks have been some heavy lifting. Hence the lack of a regular postings, which I should be able to pick up soon.

That said I'll be migrating from blog soon to word press as there is I now perceive a greater degree of flexibility and robustness that will help me describe the myriad things crossing my path.

Meanwhile lots and lots of Masters student's thesis/ work to mark and my PhD on Innovation in Journalism is providing some very steep but exhilarating discoveries.

At an event called Camp Video journalism with the ebullient Robb Montgomery I was able to share a few of those with the attendants.

Essentially it involved me demonstrating, using empirical evidence, the art of story telling as it exists now through contemporary and new television and less so because I really didn't want to go too theoritical examining the renaissance masters work.

Why?

Because all the modern day guidelines you hear at journalism colleges and tv studios developed from visual essayists over the years and then broken artists.

Rules such as the 180 degree, crossing the line, and the rule of 2/3s are NOT rules; they're guidelines to help us often get the best from a piece of work.

But if you believe television/cinema/music is a creative medium, then right now you've probably identified a dozen or so people who's work you so admire and the reason often is because they're discarded some of the 'rules" we hold sacrosanct.


Meeting Angela Grant

Angela Grant at News Videographer and one of the engaging, let alone talented video journalists I have come across will be the subject of a 5 minute Q and A.

She inspiring for this new evolving profession, and the new generation having graduated from Uni some two years ago. She reminds me of a colleague Rachel Elllison, now an MBE - a rare title handed down from the Queen for services to people etc - and I wold not be surprised if Angela pretty soon attracted such high praise from public servants higher up in the US.
[NB sorry you can't get and MBE if you're not British]

There are a couple of films we're making and then I'll park a shedload of articles etc on viewmagazine and Camp Videojournalism.co.uk as well as Mrdot.co.uk so please drop by.

One of the areas I'm really keen on talking about is Sports Videojournalism, and from some of my morning runs I'll be talking about some of the creative areas of sports productions using videojournalism.

That's it. Hopefully see you soon. I'm back to cut the promo.

There will be blood - A Video journalism short story response

A wee story if I may - a post in response to There will be blood on News Videographer

Video journalism as a tag is something of a misnomer. A blessing to some and achilles heel to others. In essence it's digital film making [with a news bent], though news organisations might tell you to try the big auditorium at the end of the road, if you approached them as a film maker.

For as long technology has helped resize film and audio equipment we've worked together, alone, and together with new permutations. And the ethical and social debate about our working practice has never gone away, as it shouldn't.

I was reading over some of the press reports in the UK from 1994 when me and 29 others jumped in head first to become VJs and the comments were hard core from all sides.

There was already a huge bun-fight going on in the networks about becoming bi-media savvy( TV and Radio). Becoming a VJ was asking for it.

The BBC didn't much like it at the time, though six years on it would take the plunge, whilst some three decades earlier it was brandishing its own form of "man with a movie camera" with its current affairs progs.

Back then the Bolex ruled. In radio, the suitcase-sized Nagra, downsized to the UHER and handheld Sony followed.

In effect, the VJ has come to mirror the RJ, radio journalist. From the townships of Soweto and Katlehong circa 1992-94 me and indeed many others, stringers and freelancers, worked solo before filing our packages to outfits such as the BBC World Service.

The editor trusted you and you repaid them with the integrity of the highest level of journalism: tell the story and tell the truth.

At about the same time, I also had a Hi-8, though I didn't call myself a VJ and DP/AP'ed for a number of indies and the odd big boy e.g. ABC News.

At at a prior job at BBC Network in London, Reportage, the Hi-8 was used as an aesthetic film camera for dramatic motion graphic shots (we loved the graininess :)).

And even though in 1993 I never shot whole films, that would come a year later, it was the glue that helped working with camera and editors. Now, for once, I could speak their language and appreciate their craft better without saying: "Can we do that thingy?/*%$@ - You know that thing!!!!".

It was this that enabled the swift turn around of a the pilot series of "Through the Eyes of a Child", which I'm still drawn to today.

Back in London and as Channel One took off Messr. Burn Out was waiting at every corner. Worse for us, we used Vinten tripods and Beta cams BVWs/UVWs. Here's a pic of Rachel Ellison, now knighted an MBE [Order of the British Empire] whom at a little over 5 feet and slight build must have exhibited herculean powers to carry one of these.

Not really solo reporting gear, but you did get your head around things like back focus, white balance to using interchangeable lens. At the end of the year many of us averaged between 400-500 stories; two a day.

The station had its own osteopath and management in an attempt to stem the tide of discontent and give the VJs some freedom came up with shooting rotas called 'The gang of four".

Four Vjs would leave the news desk and work a 7 day fortnight and were required to produce three films. A luxury.

From C1 have come some of the UK industry's talented broadcasters whom will probably say that regime and other programme making skills set them up.

Nick Pollard who would later become head of Sky News had made it worth our while.

I can't think of many other managers with his track record from ITN whom during our three months training, would go out and shoot a piece.

He returned with admiration for us, which was reciprocated.

There's a sense of deja vu at what's going on now. Equally intriguing, you might think, that the first VJ outfit in the UK was owned by a newspaper outfit, Associated Newspapers publishers of the Evening Standard and Daily Mail.

Our intrigue, wonderment, pessimism, fears will never go away; extracts from another profession altogether Modernist Painters ( a 100 years ago) moving away from a tradition (500 years) painting style, could transfer to today's VJ-TV debate.

But I guess in the end it's all about telling stories; stories that you know of that I may never come across until its made.

Benjamin Franklin said: "I haven't failed, I've had 10,000 ideas that didn't work" We can't get better at this by not making mistakes and by making mistakes and pushing on, we build upon these news skills. That much the indie film makers have shown us.

Cheers david
p.s

And to the "solo" VJ paradigm, we (at our university) discovered "swarming", VJs working together during Nato War exercises was more beneficial for the reportage. What is going on?

TV Camera - VJ shooters - Online (Newspapers) - which one?

David shooting with the Digibeta 700

I was at lunch and I was asked the question. So what d you think about TV and TV making versus the VJ thing?

Here we go, I thought, and by the time I'd finished my questioner looked a little surprised.

How did it go...

"I think the them and us is a non argument in my book. It's really horses for courses.. Truth this is really such a well worn point that.. phrew!

I started off as journalist before learning how to use a camera - the Hi8 - whilst at BBC Reportage and then the beta 400 and digi beta- as part of video journalism.

I have been into cameras since I was a teenager and still have my Super 8mm, not the exact one. That got busted.

I was at a second hand shop and bought a replacement. Great camera, Schneider lens; the works. There's nothing more liberating than creating a film, and I suppose journalism was that release.

I enjoyed the reportage, but was always fascinated by what happened the other side. Anytime I was out with a crew I always carried the tripod (camera operators would never ever give you their camera) and ask lots of questions.

I'd follow articles in American Cinematographer, intrigued by how light and tone could create a mood.

And when I turned to producing at ITN's Channel 4 News, I discovered I could talk to each side of the production process in a language we all understood.

Hey Tim you got a female - female for the XLR jack. Yep I'm running bars. View finder looks fuzzy, dunno whether it's that or the back focus.

The same with editing: Could we L cut here please? Yep the tape's blacked. These were the days of the transition from linear to non linear , which at the time was never going to work.




VJ ORIGINAL START UP
When we started out in the UK I can, now looking back, understand the resentment from some TV people. TV News had just made substantial changes to the work force.

The three/four person crew: Camera, sound, producer/fixer, journalist had turned into the Cameraman/woman and reporter. Camera operators discovered that their fees were being squeezed and that news desk preferred an all in one.

And you had to have your own camera and the better yours was the more you got called for gigs.

It's one reason why Camera men/women invest a lot in their gear, particularly lens, Matt boxes, filters and sound.

I don't think a proper debate ever happened about VJ and TV and there was unease and an amount of ridicule back then about the young upstarts.

When we started at Channel One, we were supposed to use hi-8s but the management got cold feet, thinking the industry would not take us seriously if we turned up with smallish cameras, and even after the betas, they went for the DSR200s.

I did have some choice moments interviewing MPs on a small Hi8 and found on a feature shoot on the Island of Falaraki in Greece, which was rampant with young Brits and publicity shy Greeks, the Hi 8 came in handy. Remember this is 1995.

But I have an important mantra, let the pros do what they do best. I might VJ, but if there's a camera person on the shoot, a friend etc, whom I could work with I'd beg to have them on board.

No secret also, kerzillions of camera operators may work the news route by day, but away from the office are busy doing their own shoots, directing, producing short and dockies.

So in effect as someone like Scott Rensberger will tell you, and we had a good chat about this in Bilbao last year, ain't much difference between the camera - Director - producer and the VJ.


THE BIG DIFFERENCE
Aha, wait..! Claudio Von Planta, one of the most experienced camera operators in the UK sums it up.

In 2000 he had the whole works, several cameras in which the lens alone could buy a house, then he changed over to smaller lighter the A1, which he uses to shoot for CNN international and the rest.

He's a canny lighting camera so knows how to use light. By the way, he doesn't call himself a Video journalist, and more often than not working in TV I didn't either.

He's fast on the draw, inconspicuous with his camera, likes to go get in tight,and catch his subject when they've figured the cameras stopped rolling.

A set shot in Congo with a former militia had the subject talking in the third person about atrocities that had been committed.

But on the journey back to town in car, the subject started to confess his involvement. Claudio says he whipped out his camera very swiftly and in cramped conditions resumed filming, which they used in the final cut. Very Compelling stuff!

If you google Claudio you'll find out about his pedigree - from shooting in Borneo with special forces to climbing the Himalayas etc.

The more common argument with Vjism is how it can be used to mimic the newspaper beat. In other words VJs see themselves as scooping up news items before TV gets onto it.

"

That in effect has nothing to do with camera work and individual production techniques, but the paradigm of how newspapers and TV News works.


PD VERSUS VJ
The call from the BBC yesterday to ask whether I was interested in an international shoot is indicative of the PD understanding - Producer/Director shooter.

Video journalism has connotations that, yes have changed over the years, but still often attract the wrong sort of publicity.

TV news has rules for reasons that Hollywood Cinema has, unless that is you're making an art movie or are an independent. We're going into auteur here. Actually far less basic.

From the Evil Deads to Once, low budget and DV film makers have often experimented with form, and then Hollywood has caught wind and reigned the directors in to become part of the fold. There's a great read about Mirimax's history.


On some shoots, I've occasionally attracted comments that "hey that looks like TV", and I say yes, because I don't believe in throwing away the baby and the bath water (I have always thought what a crude analogy that is.. who dreams up this things.) And TV's bags of tricks do offer get out clauses.

Whatever we might say about VJ its a derivative of TV. It was born from TV, but then aping what's good about newish media, has broken away to invent its own rules.


TV BEFORE DIGITAL AND AFTER DIGITAL
Understanding first shift and second shift aesthetics in TV - New Media lets me appreciate both. One we know about all too well, the other is experiential.

One has a cost element and emphasis on lens clarity that it's appreciation would be lost on everyday turnaround newspapers online, who've now come to inherit Video journalism.

One allows me to be more discreet, the other tells you I'm a cameraman/director. I often tell them I'm also the reporter, but when I am using a digi or beta, rarely do stand ups.

The them and us is merely in my mind the old fight of a division of labour: history is littered with them. One of the best, newspapers saying TV wouldn't last and then having to change their game to include more analysis news and commentary.

I imagine a few old editors having a chuckle now at the direction their papers are taking, but somewhere there's a middle ground (huge) where we'll all meet, and then of course some will always be on he fringes: it's the "bell curve" of life.

The VJ - small size jack of all - works mainly because of cost and the medium, online. Truth, that's been the life line of Vjism, broadband!

Like I said Vj lets us know what TV would have liked to continue doing which is to innovate in visual terms, in the same way independent cinema has done.

And whether it's the term we feel queezy by, it's really about creating films, not as a maniacal practitioner, but as someone who's passionate about storytelling and would like to have more input into realising their ideas. There!

Video Journalism and Camp Video Journalism - Chicago

Front page of Videojournalism site for the UK's first regional newspaper videojournalists. The combination of VJ, site building and multimedia is what David refers to as Integrated Multimedia Video Journalism IMVJ.

More here

I'm in Chicago soon to meet friends, talk and mix it up with practical and theoretical ideas 'bout Video journalism, and exchange views into the small of the night.

I'll be joining Angela Grant whom I've not met but know her work - great stuff - from News Videographer.com and Robb Montgomery from VisualEditors.com in what's been penned as CAMP VIDEOJOURNALISM.

It's something we dreamt up while in Cairo together

I'm hoping to see some of the different styles emerging and see if I can spot some Video journalism trends and trajectories.

There are a range of international VJs/ solo news film makers whose work I so admire: Washington Post's Travis Fox whose film about a bereaved 911 father who helps rebuild the pentagon is a constant source for my students year on year.

Last year one of them rang him up. He missed the call and duly rang her back. Top Bloke!

Then there are the VJ/ solo film makers I've had the privilege of meeting: Naka Nathaniel - awesome a truly nice guy to boot; Scott Rensberger who should frankly stop winning awards; Dutch Ruud Elmendorp - an award winning VJ based in East Africa, and Stephan Bachenheimer whom made Guantanamo Unplugged. Watch it!

There are some things we share in common, some things we do differently but often arrive at the same goal, and some things that are poles apart.

You say Tomato and we say Tomato.

Just as television has its cultural nuances and flows ( see Raymond Williams, the same could be said of video journalism. Though good stuff invariably travels well irrespective.

But as film makers what we do is learn, borrow and God forbid steal visual ideas from each other.

In my career one of the most invaluable pieces of advice was: Listen and Learn. ABC News' style is different from the BBC, which was not the same as defunct agency WTN, which is another kettle of fish to Channel 4 News, which looks to have nothing in common with Channel One TV - a VJ station.

I worked at all of these at some point.

But all provide recombinant DNA for something else, which could either work or be bloody messy.

However there is no prescriptive route to creativity and its execution. We learn assimilate and then take the stabilisers off and find a setting that enables us to replicate, but also surpass those around us.

Tutors teach students whom will likely, very quickly, streak past their tutors own knowledge in this speedy media scape. Experience is crucial, but we also need an injection of the zeitgeist - what's happening now. It also keeps us sprightly.

Traditional film and TV making skills are still crucial - absolutely. TV lets us know what video journalism can do, and multimedia news making when that becomes the norm will thumb its nose at video journalism. Hah!

We have endless debates online about video, video journalism, which are absolutely necessary; the end goal is about a product, so a major solution is to go do.

We'll succeed and fail and do it again and then succeed some more and then find our voice - and when we do that voice will be unique to its author.

After all we are painters with video and you wouldn't expect craftsmen and women to all paint the same.