I'm buying an Iphone

I'm not a hard and fast tech geek. I'll often wait for a "safe period" after a product launches so they can iron out any potential glitches. That won't be he case with the iphone. Robb's been demoing his, like a Ferrari driving at 20 mph down Sunset.

It really is something. One facet is taken a picture of a new contact attached to their address, so in 6 months time when that person gives you a fleeting calle and you see: "Jerry" pop up.

Instead of thinking, "damn- can't remember this person- should I?"

Their picture blows up on your screen. Neat.

That beastly link

Here's a good one for the good people at Oxford Institute or other to get their head around.

At the Telegraph one of their senior execs tells us about a reader who wants a link taking down. It's a foul link. Put it this way, you're caught with your 'trousers down". And it gets written about, at worst blogged.

What if the event is a conviction which becomes spent over time.

By law you're not required to reveal the offense. You may even in some cases sue for libel. Meanwhile that "foul" link sits in a paper's archive and number 1 in google against your name staring ominously at any potential employer or friends looking you up.

The Telegraph's stance is that the article written on you at the times is a reflection of the event - the link stays - just as you couldn't undo a newspaper piece 6 years ago.

Mind you that newspaper piece is probably in a landfill - out of sight.

I'll post the actual video of our discussion at some point, but it's interesting to note that other newspapers have gone into their archives and removed offending links.

Video journalism - where do you start?

Ok So what is it?

1. It's a journalist with a video camera. You don't have to be a journalist per se. but there are legal, and policy issues to consider which most TV journalism courses make you aware of. Vj's need both reportge and camera legal training.

2. It's not new. You can trace its origins to the birth of cinematography, and the absence of a director. In the 60s, there were camera/ directors working at the BBC wth Bolex cameras whom you could describe as video journalists.

3. It's relevant now because it allows low entry into broadbandcasting. If you're a skilled visual essayist or experimental - world's your oyster.


How does it work?


1. You don't need gear costing you hundreds of pounds - a lap top and good camera and you're off.

2. It's not television and why would you want to compete with television. It's a more intimate language in its own.

3. There are techniques that will set you up to understanding video journalism. The rest is about inspiration.



Why do I need it?

1. Ad revenue for video on some sites are mooted to fetch up to a 1000,000 UKP.

2. We naturally watch television. If it's no good we'll turn off.

3. You're creating a new history for your publication with archive that may soon recoup some of your money.

4. It'll equip your newsroom with next generation journalists, ie is versatile journalists who can make films, news packages, podcasts and more.

5.You're making your own shows - Here at viewmagazine.tv - The Ferrari, War Games, and Brodcastcast quality international reportage -are all part of the portfolio



Can anyone learn?

1. Sure, commitment from you and your bosses.

2. Dedication and determination. As Rob Montgomery would say its's technique not technology.

3. TV and non TV alike. Visual skills from television or photography will come in handy. Truthfully my background working for some of the best news progs around at e.g. BBC Newsnight, Reportage, and Channel 4 News helps in differentiating between TV and V Jism.




So what's the fuss about?

Managers are led to believe it will costs hundreds of thousands of pounds. It doesn't.

Managers think it's crappy? Well everyone's entitled to their opinion CNN, Sky, BBC, FT, Press Association - all use shoots from VJs.

Print journalists take to it faily easiily because they're not burden with the dos and don't of TV. In my next film, I'm going to "cross the line" ( an imaginary180 degree line ) but the cut works.

Pictures by Rob Montgomery from Visual Editors


Soon - a VJ shoot from the "City of the Dead".

Cairo blogdom

Series of blogs etc coming up about sharing space with uber video blogger Rob Montgomery.

We're intendig a double header with video blogging and video journalism and how newspapers can build these into their outout.

Crucially, we're looking at taking a story and deconstructing it - a very local story hopefully.

The plan then is to rework a similar story using still and audio from the equipment we have here. Sounds exciting and it looks like it will be.

IPTV

Tomorrow will be posting from Cairo and the later on Ghana. The theme exploring IPTV and the surge in newspaper plays

Open mike - who's up for it

Marking Masters papers and listening to Radio 4, there's an item on about the new open mikes used by refs that can be heard by the crowd.

Of course the currency is the pending world cup - that's Rugby

I was at a Twickenham for a friendly recently and happened to buy a ref-link and record some of the ref's comments with players.

It makes for interesting listening.

My favourite is an: "Oy nunber 2 one more of that and you're off. You're beginnning to wind me up. No Shut it"

The reply is along the lines of: "Yes sir"

Now could it be that for further entertainment value news organisations could start to release some of the editor's chatter.

Anyone whose been in a live studio on a breaking news day will know how frenetic things can be.

"Ask him whether he's going to resign?"

"Ask him again"

"Wot that's b**** get the ****** to say why he won't resign"

Of course often you'll never know. The best presenters can be screamed at and still look unruffled. Often some ignore the editor for effect and instead of asking verbatim what the editors asks, will put their own spin on it.

My own recollection was for a presnting a pilot prog and having my ear piece fall out. It was a live show, so I couldn't stop, but at the time I thought where's that ear thing gone, by the time I had it in my ear, the floor manager had commenced a 10 second countdown to the credits.

I hadn't even summed up the show.. Oh dear! Well I'm scrabbled something together. I might post my deficiency some time.

Open mike? How long till we hear about this in... the making of the programme?

Mind you if you are recording ambient background sound, whatever you do don't record an orchestra practising without prior permission. There's a famous story of a broadcaster being hammered e.g royalties and "needle time" for merely recording the orchestra tuning before the show.

Television and the Arts?

on Viewmagazine.tv
Actually you could say television's killin itself - full video and report Tuesday morning

A face and name to watch - Tamer Almisshal

It's what we do.

But now the stakes are raised. Within 5 years time it will no longer be a novelty, but then we might have moved onto something else.

The young man I'm talking to is a friend of Alan Johnston, Orla Guerin, Jeremy Bowen, BBC and non BBC figures interested in reporting from one of the world's most challenging areas.

He came to the University of Westminster having endured days latched to an overcrowded bus. Such is the border restrictions from Gaza. He had experience of producing under his belt, trusted by the best journalists reporting from the region.

At the university both students and lecturers who crossed his path were in awe and great respect at his professionalism. And that now has been readily rewarded.

Recently added to his credentials, the ability to build a web site from scratch. More importantly how to write for the web using google-rich links so ones copy goes to the top of search engines.

But it was in the dark art of video journalism that he excelled, probing, asking, executing - matching theory with practice. There were many Masters students who pushed at the boundaries of video journalism this year.

That's not merely shooting television, but learning a fresh visual language of going native. Getting intimate stories.

All those students represent a future which challenges the status quo of "traditional" journalism. People who can work different software, take a script and turn it into compelling television by themselves, understand how the web will shape what we do. Their turn will also come.

But for the moment, our sincerest congratulations and very, very best of luck. It is fabulous and fantastic achievement.

Ladies and gentlemen meet the BBC's Gaza Correspondent at its soon to launch Arabic service.

His name is Tamer Almisshal, Class of 2007, and you'll be hearing a lot of him.

Full video interview later in the week

World Press Photos

Image courtesy of Yannis Kontos, his award winning photo set, Amputees, for the World Press Photography Awards, contemporary issues. Please note, Yannis' images are not part of the exhibition

If you're at an end of sorts about what to do this weekend and care for a walk to the South Bank then I'd recommend the world press photography exhibition.

A collection of the best of the best, though you could always argue your own favourite contemporary snapper was not included. However this exhibiton drips with emotion.

No wonder you're met with a bold sign saying some of these photos are unsuitbale for children.

Those exhibiting were chosen from around 78,000 entries from 124 countries. Difficult choices. They include Joao Silva, South Africa, The New York Times and his photos from the US Marines patroling Northern Iraq; Brit Alex Livesey's Getty photo of an acrobatic football kick for Sports Illustrated; and US Spencer Platt's almost surreal image of chique Lebanese women driving around rubble in bombed Southern Lebanon during the Israeli-Hezbollah conflict.

Couple of observations about trawling for online information, it's very scant and makes part of my point when it comes to using the web and IPTV within the arts. I'll be posting the video film on Monday: who's killing the arts.

Meanwhile the world press site quite rightly bans anyone from using their images. I suspect if I were writing an article I'd be on to them to contact the photographers for permission to use their image, but I'm short of time.

However if photographers want publicity, and most do, there should be a creative common license that allows the 'proper 'promotional use of images in bespoke terms and conditions.

Yannis Kontos, a world press photographer winner last year is selfless with his images that way and I find his spirit and understanding enlightening.

Which is why we've been able to collaborate on several photomontages, where he is credited appropriately.

If you're a photojournalist and I clearly understand the issues of rights, which is why I'm not using any images here from the exhibition, it's worth looking at.

The expression is:"let go". The more people that see your images the better.

A further observation is that there could be a little more creativity in publicising these images online. Don't be put off by the front page of the South Bank's site. One of the posts I came across was lamenting the cropping of the main "sell" image online.

As a webby person I might think why that would have happened, particularly if you're working to a template site ( no idea whether South Bank's is) but still pictures are there to be looked at. Give them the same attention in the gallery online and chances are that will woo some more punters.

Here's Yannis photomontage. See you next week as I'm off for a few days.


In a couple of weeks I'll be redoing videos on viewmag so you'll be able to watch this in far superior quality at twice, almost three times the size.

The future of news reportage

We are often guilty of making grand sweeping statements and the future of news reportage may count as one. But I'm confident that by the time I post the video, it will be beyond doubt.

The peice is about the nature and dexterity of next generation reporters and has by proxy been endorsed by one of the biggest global broadcasters.

The report is remarkable absolutely because of the subject and what emerges weighed up against history. You'll excuse me for being cryptic, but you will fully understand when you read about it next week.

It is I can also boast an exclusive and I'm extremely confident we'll be hearing a lot lot more about hte subject in say Newsweek, Times and a host of publications.

The future of news reportage next week

Is Television killing the Arts?

The Edinburgh Fringe Assembly Rooms director William Burdett Coutts is not pleased at the level of Arts television coverage.

I read this at about the same time, Metal - a dynamic arts think thank -
emailed me about setting up a new body.

The two events set me off. So I trundled down to the South Bank - London's culture metropolis and armed with my camera proceeded to put together a piece about what's wrong with Art and Television.

From what appeared to be a quick 3 minute piece, soon grew to a 7 minuter, exploring a couple of themes.

The overriding one for me is simple and I'll post more detail with the vid in Viewmagazine tomorrow. But here's a snap shot.

TV no longer offers exclusive red blood cells for those Arts bodies needing oxygen for publicity

We know that in blogworld, citizen journalism, even fast approaching, now politics. So the piece I have made asking folk what they think makes that point.

It includes snippets of Simon Prosser, director of Hamish Hamilton publisher of Zadie Smith; a brief look at the wonderful photo exhibition at the Festival Hall; and then we whizz around to the Guggenheim in Bilbao.

Television's relationship with the Arts can only get better with a new constituent of producers and TV personnel who are able to see a new horizon, who can seperate high from low brow, who can make use of the long tail and hold their nerve and who understand that Art is not just a night at the proms, but an experience, which in recent times conductors have shown by allowing populist repertoires and jolly behaviour.

If the best we can do is to discuss whether its proper to clap in between a Mahler symphony, then the plot has been lost. Art and Culture must never be stagnant, but move with the times.

You could argue that TV has done neither and that this has not be helped by some custodians of Art whom may struggle to understand what a blog or video journalism piece is.

Post tomorrow

Forbidden Technologies

Has anyone used Forbidden Technologies editing system? What's it like? Would appreciate some info

Meeting Mandela

Mandela's in the UK and if you're one of the attendants to his 'brai', you'll be searching for the official photographer for that picture to occupy your mantle and make all your freinds jealous.

Here's my story.

It was the annual Foreign Correspondent's Club meeting in Jouhannesburg. I'd just finished a good run of programmes and with my colleague and good friend, former head of CNN for Africa, Edward Boateng, made our way to the dinner.

I'm chatting animatedly to guests, when a deafly silence falls on the hall.

There in the distance is a slow moving throng of people. Like a Mexican wave slowed down, people begin to rise.

Then slowly perceptibly he appears OMG.

It is Nelson Mandela. He is heading straight for our table. His side-person another official looks at us, recognises Edward and then he stops.

Believe me an hour could have passed.

And this is David who (mumble lost words) the United States of Africa, says Edward, as Mr Mandela's hands extend.

Flash thoughts. How long do I shake for; how firm should I be?

I needn't have worried. I tipped my head, gave a feeble: "hello", and a fleshy soft palm shake.

Then I noticed the photographer and flashed him a pressed eye look. The one that says, "Yes what are you waiting for? Damn it. Flash, Flash, Flash".

He looked back at me and geustured:"No film!"

And that was that! I looked at my palm for a couple of seconds and for a couple of days did not wash it ( no, actually course I didn't , c'mon) but it's quite a thought.

Good luck if you find yourself in a similar situation. Mind you now cam-phones are the rage.

The secret of TV-Net success. What the TV agents say

David Dunkley Gyimah featured in Spotlight - the bible for TV presenters and journalist managed by agents

Huzzah! We're all doing, video online.

But fret not whether you've not yet joined the fray, because it still may be you.

For most outfits producing video costs a bundle. For you and me on the net, next to nothing.

Producing TV/video isn't exactly rocket science, but something else, an ethereal quality, a something which you either have at birth (David Chapelle), acquire through steely determination ( Madonna) or buddy up with someone and be desired by proxy.

But this post is about news information and as such what is it we're supposed to be looking for, from:

* the news/ feature presenter
* the production.

What the agents say

I have had the chance to speak to a number of agents in my career.

One, Jacque Evans would subsequently become mine for number of years. We sadly said a tearful bye bye when I wanted to abandon front-of-camera work to concentrate behind.

Also the TV market in the UK is terribly deterministic, "Oh really (shrill) who did you say your dad is?" - that as well, it's pretty small compared to the US market and is increasingly becoming risk averse.

The pressure on any TV boss to create a hit to sustain their career is such they're likely to look for bankable winners to front their programmes, which is why you see the same faces across different progs.

They have what is either called the X-factor or as Cuba Gooding Jr's character would pronounce in the film Jerry Maguire, "the Kwan".

Random branders and groupies

At present there's probably predetermined mixed with random routes to net video sites. Predetermined comes from your current constituents. They'll come to you come what may. They are the brand groupies ( sorry that's an ad term I came across working in advertising).

Most execs however are also after the "randoms". Those that would never have considered you a friend, but drop by and stay. They in turn bring in other friends and so on, and over a cycle also become "groupies".

Hopefully by then though the brand would have evolved to keep old and new friends together. Channel 4 News is one such brand that has very broad cross appeal. If they visibly broadbandcasted with "outernet" concepts on the net, I think their stock would rise even further. (yes, yes I did work for Channel 4 News as a regular freelance producer, but it's a good show).

Top Ten Video News Observations

So here's my top ten observations trawling across many News-Net video sites this morning looking at presenting and production.

1. If you're a presenter *KISS and refine that script for your audience. Your audience has a quotient for witty, good turns of phrases. Too much though and it's a turn off. Also "inculcate" is a good word, but there is an easier choice.

*Keep it stoopidly simple - actually not that simpletonly simple but avoid pomposity really.

2. Deliver the script with pace. On paper three words make up a second and less really is more. Criticise TV as much as you/me want, but these really are tenants that work.

So slow down. Watch the BBC's Richard Bilton who delivers a master class in pace and style. There's only so much information anyone can take, which is why public speakers regulate their pitches often to three or less thoughts.

3. Deliver it with style. TV is a performance. Know how to sell the tell, using body language and voice inflexions. Looking dour, rigid even with a killer script most likely won't cut it down the line.

4. What to wear. Yep that's personal. But in the same way if you've never worn a suit to an interview, chances are your interviewer will spot that when you pitch up. Body language gives away how uncomfortable you are.

5. Love it, work that space and fill the frame. Not exactly when you're in a killing zone. But show you care about your work.

It's remarkable how many reporters are thinking about something else during a report. Amanda Congdon in this article I shared by proxy in the UK Sunday Times, may not have been your cup of tea.

She wasn't a hard news teller, but she showed she cared about what she was doing(in a witty haughtily, self mocking way). And the good people at storybridge.tv have it all sown up. So stop standing like you're tied to a pole.

There is a reason why photographers ask you think about the scene you find yourself in (e.g. happy thoughts) when photographed.

Production

6. Care about your pictures, slapdash them together and it's a souffl'e from hell. You're selling pictures unless it's an audio pod.

7. That cliched electronic background music, urgh, though this is a matter of taste, but it's akin to wearing flares - which yes might come back one day. Look for something original. Actually that's easier said than done which is why there's a music librarian attached to TV projects. But please don't mix Sophie's Choice over a cute girl named Sophie.

P.S. Have you noticed how over the last 6 years Hollywood has moved on in scores and is increasingly using Middle East/Arabic chords to highlight tension in spy genres, when it was absent before then.

8. Multiple pans saying nothing. TV's canvas is broad, the net's watchable window isn't so the language of TV won't always work. Right let's try a pan here from er, where to where?????

Sorry I won't bang on about the language of video journalism, but it's the photojournalistic aesthetic that Cinema, TV, online loves. The heights of this include Black Hawk and Bourne Ultimatum.

In Bourne the director pulls of another feat, allowing the action to take place in the frame and manipulating the dynamics of the camera action to up the ante. My good friend Rob Chiu is also a master of this. If you've never seen his reel, watch this and exhale.

P.S I'm not saying every vid should look like Rob's. It's about understanding the film

9. Let the visuals at least marry with the script

10. Break the mould. Try something new. In time all news online will look the same, so what will make your production different to watch.


Foot notes: The net's big enough to gain your own audience so that the long tail is still to some extent aggregable to something big
2. If you're interested in talking about me helping you out post me at Contact
3. OK now you can pull my old presenter reel to parts.
4. I'm looking for a new agent - Oh yes. And I'll do a longer post on this soonish

Sights and Sounds of the Carnival

Sights and Sounds of the Nottinghill Carnival on the front page here.

As I looked around it looked like a festival of photography and filming; cameras, mobile phones and PDAs. If I had one tip I would have wanted to pass on he few photographers I stood next to it's don't lighthouse or waterhose. That's where you do this 180 degree swivel. Best to just stay steady and fixed on a subject and let the action take place in the frame.

Television's firing range

You see if you're in the US or South Africa or states where firearms are permitted this stuff is second nature. The mere sight of a holstered gun in the US or SA fills me with dread.

Yeah I know, "big girls blouse".

Ghana's one of the most passive states in Africa in gun crime; though there's been the odd news reports surrounding related crime of late. Many blame the legacy of Sierra Leone, Liberia and Cote D'ivoire.

Anyway I digress. In the United States of Africa - a six part videojournalism led series between South Africa and Ghana's public TV services - I had a plan.

Take the Ghanaians to a shooting range in Joburg. It was an experience for all. There was no bravado, just trying to capture what it is about this cold piece of steel.

A broadcaster-friend at the time was besides himself when his flat was ransacked. They took money, CD players etc, but it was his firearm that gave him the most concern. He'd have to go report it to the authorities. In Yeoville, Joburg, at the time very, very few people I knew had a gun.

The shooting range was a strange experience. The worst, I'd discharged 5 rounds instead of 6 and damn well nearly got myself into trouble handing the piece back to the instructor.

"KEEP IT POINTING DOWN" he barked.

Some bright spark me eh!

Producer, director, editor ( he doesn't like the word VJ) Scott Rensberger showed a report he made from literally stumbling upon an event- a gun fest. He won't mind me posting as he gave me the report. Here's another scary one before that.

However there's a fine line in this - as I'm sure some people will revell in the spectacle. Not Scott's intention or mine either.

Anyway, what's the point of all this. Well the terrible event in Liverpool and while fingers are being pointed at communities, criminals, my bent is there's a lot more TV can do as well.

Our broadcast was to add to a debate, but for what it's worth here in the UK, this issue needs to be a more sustained one with education and information at the heart of it.

Claim to Media Fame - dubious

At best its dubious, but here goes. If you look through the law books Regina Vs Dunkley ( actually I have changed the name) you'll notice a test case involving the use of DNA fingerprinting to resolve a paternal suit posited by the Crown Prosecution Services.

To cut a long story short, the evidence using DNA fingerprinting for the very first time in this way left the authorities in no doubt as to the veracity of our case.

Science and common sense won the day.

So, I was one of the very first people in the UK to have a DNA profile showing necessary markers. Yep this was Gattaca.

In the purest way I have never quite considered myself a jobbing journalist; something about Art gets in the way. So I started manipulating photographs of my gene map sequence.

It's imperceptible, but if you look at the reel here, you'll just about find elements. There's no aesthete to the reel.

But since the reel is the DNA of my work and this one actually contains my DNA ( a photograph) there's some self artistry involved.

Show reels are peculiar pieces of theatre. One could quite easily question their use. At the launch of BBC 3, one producer tracked me down after seeing an article of some Londoners in the Evening Standard.

She asked for my reel and I would have given her something along these lines ( this one's more recent). She says they all looked at it and went er, so...

As Robin Wiliams would have said to Will Hunting "it's not your fault". In 2000 the idea of creating visuals like this was perhaps considered plain wierd. Even for BBC 3. What are we to glean from this?

Have things changed much in the industry? You could argue, a bit, but like your DNA code some things perhaps never change.

Douglas Adams' omnipresent Net theory

If you've never read this article before. A must for anyone, from the late Douglas Adams - Hitch Hikers Guide

"1) everything that’s already in the world when you’re born is just normal;

2) anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it;

3) anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really.

Apply this list to movies, rock music, word processors and mobile phones to work out how old you are"

Read the whole piece here. Thanks to Christina Fox my co-TV/VJ trainer for reviving my interest.

Actually they're are parallels with video journalism

Count Down to China

To coincide with China's Olympic countdown and ahead of a visit to China, Viewmagazine.tv will be airing ( good word that, since it's a broadbandcast) a couple of vignette reports from China courtesy of my colleague who has just returned from lecturing there, Kienda.

Two years ago as London geared up for its Olympic bid, one of its ambassadors, the indefatigable Jude Kelly, a figure I so admire, invited me to the top of Canary Wharf - one of the highest buildings in London to brainstorm with an eye opening group of people.

Everyone from the creative industries of one sort or another was there. Jude also gave me her video blog she'd made from Athens during their Olympic run. It's never been aired before so I'm looking forward to cutting it and linking it to a Kienda's China stories and a feature on another colleague and friend in the runnings for scoring for the Olympics.

What I really like about Kienda and Jude's video is the personal nature of the reports. That's what VJ does so well and so what you get is an authored report which include some truly interesting stuff.

Predictive news - the news tomorrow

Europe's biggest street party caught the sun and revellers as more than a million people took to the streets. . .
Elsewhere there were a number of arrests. A man is seriously injured from an attack.
There are renewed calls for the carnival to be moved, despite Hyde Park relieving the pressure by staging some of the steel bands. Wada wada wada

Call it Minority Report's precrime prereportage event - an affliction that will overcome many networks tomorrow reporting the carnival.

There's the TV way and the VJ Way.

Here's how an editor deploying VJs might have sorted the station's report, because in the short space of time I was there ( Gosh my feet hurt from all that walking) these are some of the things I picked up.

Locals
The woman looking demure unleashed a torrent of abuse at the stranger, who caught red handed waved ten pounds in front of her. He'd just crouched in her stoop to relieve himself, against her building and she was mad. "I don't give a **** what you're giving me", she belowed.

Such is the pressures to find toilets and the relentless queues that greet you, that many have soiled the best part of London's most expensive residential area with their processed ammonia cum excess beer discharges.

It's possible the woman would have been one of the few (in real reportage I would have asked her) not to have left her residency for more sedate surroundings until Europe's noisiest street party passes. Many residents boarded up, while others just upped sticks for the three days.


Participants
They were drenched in chocolate, an army of them; something to do with a chocolate brand celebrating ten years of sales, but the eye catching body deco would have to go to the angels and Egyptian theatrical- costumed youngster gyrating their hips in a fashion that outside of today's event would be considered very risque indeed.
Costumes of this nature take a lifetime to make. As the sun sets on one carnival, costume makers aree busy preparing for the next. It is a 365 day a year affair. . .

Food
The food is just scrumptious; chicken, chicken, chicken, jerked, stewed and skewed. Everywhere you turn the embers and smoke from a coal fire roasting a chicken hit you.

Pity the poor police enveloped in this aromatic essence, but unable to do anything about it, other than splutter. Not because they're choking, but because, perhaps their saliva must be draining past their oesophagus like Niagara Falls. . .

Revellers
Travel light and make sure you've had your vitamins; ear plugs aren't allowed. Carnival is here and once more float will do battle with float, band with band, skimpy tops and bare chested men all mixing in one big multicultural melting pot.
. . .

Police
Well we all know how to report this

BUT instead we're going to get: "Europe's biggest street party caught the sun and revellers as more than a million people took to the streets. .

The key is first person narrative, letting the camera find the story, and handing over ownership to those involved in it, rather than snatching comments.

Incidentally these pics are stills from my A1 sony vid cam in HDV mode. And I didn't go to the carnival to work. I'll dump some video on viewmag shortly.