Video Journalism overall muscle power-speed

Vjism - nimble, less load, small, if you're not fast, what's the point?

It's not that as a videojournalist you'll necessarily be quick. The project has a lot to do with it and I believe so does your experience, which comes from developing a critical eye c.f Cahiers du Cinema.

Truffaut et co studied so much cinema, that they were ready to go it alone sans baggage.

There is no substitute for experience and bloody mindedness. The film isn't finished until its finished and then some.

If you've never done a TDB, till day break, you're missing something.

No I'm being facetious. But a televisual mindset heightened by VJ practice, knowing appropriate short cuts and techniques goes some way in alleviating deadline nerves.

In part and I've had this confirmed by many of the former C1 videojournalists, shooting 2 sometimes 3 stories a day over years, varying from politics to crime quickens the senses.

And there are praxis exercises I use in advanced videojournalism e.g. Track & Rushes, Image-syntax etc. for those who already know how to shoot and are looking for speed.

In Norway, as an exercise approaching an interviewee cold, it took 9 minutes in total from an initial meeting to the interview being online.

Here's one I demoed in Podgorica - Macedonia

Untitled from david dunkley gyimah on Vimeo.

And here's the result with effectively little editing

Results - How to create a multiple angle interview in 3 mins from david dunkley gyimah on Vimeo.

Now there's no bravado in speed if that compromises professionalism. That's not what this is about.

Tomorrow I'm going to test that theory for the umpteenth time again. The Obama Video I have made for the Orchestra will have to be redone in a matter of minutes, as new stronger material has been pledged.

Recent Updates (August 2010)
Lots of interest in this short piece, so I wanted to update you.

The Obama Piece took three hours to do before the main orchestral performance. You can see that on viewmagazine.tv after the preview on the site illustrated below


The issue is a balance between the premeditated which TV often subscribes to; the researched item must fit the shoot, and looking for and interpreting fresh material.

I remember reading a review of Japanese actor-director Takeshi Kitano and his fim Brother in which actor Omap Epps said he was amazed at how many scenes they'd get through in a day. Kitano, shot one scene, got his cover shots and moved on.

Similarly if you liken cinema to a language, as James Motano in How to read a film does, you can begin to understand how n improves ones skills. I have spoke about this at length on other posts. Also see the Matrix Lecture for approaching a subject sideways

So, as I write this, I'm rarely making any mistakes and crossing them out; as I speak to a friend I'm able to string together coherent sentences.

There is no difference, only that constructed in the wilderness of semitotics to the way we may think when we arrive at a scene. I consider myself the same as a newspaper copy editor, able to spot the buried lead.

Speed at the expense of accuracy is one thing; speed; the artists' temperament is quite something else. See you on Viewmagazine.tv

EAT from david dunkley gyimah on Vimeo.

Eat

Survive the fall

"'Come to the edge'. He said. They said, "We are afraid"
'Come to the edge'. He said.
They Came
He Pushed them
And they flew."

Guillaume Apollinaire

It's not how you fall down. Everyone falls. It's how you get up again

现今的录像新闻是一种最先进的电视新闻产品

现今的录像新闻是一种最先进的电视新闻产品，它是可预测的电视新闻作品的一种另一种形式，（而电视新闻从其开始产生时就在顽强的克服自身弱点）。录像新闻是下一个时代的电视新闻：它的新闻制作不受到传统新闻制作模式的限制 － 英国录像新闻记者领头人和录像新闻制作指导，多个国际新闻大奖获得者， viewmagazine网站制作者 David Dunkley Gyimah 说。

David是英国媒体领域的杰出人士，在其22年的职业生涯中，他先后在英国电视广播公司， ITN4频道新闻，ABC新闻和一频道工作，其中一频道是英国第一个录像新闻的电视台。 他运用自己被广泛公认的教学模式已经训练全球上千余记者，这些记者来自与：英国金融时报，芝加哥太阳报，和英国媒体协会。其中在英国媒体协会，他协助并且创办了录像新闻节目。

Barack Obama: 100 days - Video journalism

Nearly there! As featured on Viewmagazine, Shirley Thompson a composer and conductor tipped to be a contributor for London's Olympic 2012.

Shirley has scored an original and oustandingly uplifting piece : Voice of Change, which will be played at the Purcell Room, South Bank Centre, Thursday 30th April 2009 at 7.45 pm.

It fuses, classical, gospel, jazz, drum and beat. Pure magic!

The gathering features the BBC Orchestra; Katherin Jenkins - Opera singer- who's opened a couple of big Rugby games; and Mark de Lisser from the BBC's Last Choir Standing.

I have been asked to make a video accompanying Voice of Change.

There's quite a drama behind how this whole thing is coming together, video n' all. This isn't the place to talk about it, but a Video journalism piece behind the scenes afterwards, might shed some light.

As a footnote, what an amazing thing, amazing thing...

The Big Videojournalism pieces - Successor Generation

Showing on Viewmagazine.tv, one of the videojournalism features made for Network Television, Channel 4 News. South Africa's recent general election provides the currency to look at this feature.

Channel 4 News, could not afford to send a reporter to South Africa, so I explained what I had in mind and paid my way to South Africa, without any gear.

I had about a week to put this together from a standing start. Finding good subjects had its moments. The piece was about the Successor Generation, Young black South Africans- future architects, now custodians of South Africa and the new schism seeping into society.


Gayle had already featured in my BBC radio 4 40 minute documentary. An extraordinary powerful woman, articulate, well respected, and most definitely in my books a future minister.


Itumelang, amazing talent. Then the editor of a youth magazine, now working with some of South Africa's brokers. If you look closely you'll see the camera I'm using: the digibeta 900.

I might be a big fan of small cameras which have their place, but cameras like the Digi 900 give you a breadth of control and texture unparalleled. You'll need to have a good understanding of the camera, white balancing, lenses etc.

At the times of hiring it, the average cost for a digi-beta with the lens I'm using was about $50,000
In Cape Town, Beth, whom I worked with on one of my first features in South Africa circa 1992, Through the Eyes of a Child talks about the problems she still faces.

Bassie, couple of years earlier, she'd been crowned Miss South Africa, and runner up in Miss Universe. But again like all my interviewees a formidable mind. I didn't take as many clips from her as I should have, but packaged here interview later as a self contained one-on-one.

The lengthy feature Seven minutes plus is not as easy at it looks particularly if you're starting out, but my Masters students should probably rest in the knowledge that everything I'm telling them in terms of character building, and exposition plays up here.

This sort of feature could take us up two weeks when I was at the BBC on Reportage with a team. Today, as a videojournalist this should be anything from a day or more depending on the set up.

I'm currently writing a book about my time working across as many broadcast networks and how some of this stuff works. I'll keep you posted :) Drop me a line if you're interested in learning about training programmes.

Gimp your twitter site

In response to earlier post, if you don't have photoshop to spruce up you twitter site, Rob suggest you try GIMP.

I have not used it before. It's free. So what are we waiting for :)

If nothing else passion for what we do

Recently I felt compelled to recount a story to students. If I could give it a name, it would be called "the passion of what we do".

Passion; the kind you see on the football pitch particularly from an Milan player scoring a goal, or a six year old running their first competitive race at a school event, or that climber seeking to scale a mountain, walk large distances, with that burning desire to succeed.

Emerging from the subway, I witnessed an argument between a road sweeper and what appeared to be a bystander.

I'm not the type to stick my nose where it's not needed, but I'm equally not at home walking away from something when you think there's something you could have done, or should have done.

I can recount times when I'm halfway down the street, only to double back to the amusement of a companion because a broken glass lay precariously in the street waiting to injure someone and which I ignored first time around.

The argument
So after a few minutes of gesticulating, the bystander left the road sweeper prompted by the command: "get away, you don't know what you're talking about".

I enquired. The road sweeper who's name it turned out to be kojo said he was accused of being lazy. The man standing next to him was also a sweeper and was chiding him for his sloppiness, that he had to do kojo's clearing up when he took over kojo's shift the following day.

Kojo explained: "This can't be. I cannot be sloppy. I know this and my bosses know this. And if I had been sloppy, why would I have won Street sweeper of the year last year".

More was said afterwards, and as I left I spoke in Ashanti/Twi a language I rarely uses but am well versed in from Ghana. I said to him "well done".

Kojo I could see took great pride in his work, and after 9 years at it had clearly not lost any passion, so the accusation must have hurt.

Passion. It is that which drives us and that which makes us seek out that we do not know, yet seek to understand.

A school I went to in Ghana burrowed that them and the word "faith" into its charges.

You can be anyone its lecturers would often say, with passion and faith.

A sermon delivered one Sunday has always stuck with me. To a sea of white shirted and shorted youngsters, the evangelist spoke about faith.

We all have it he said, because if you didn't you would not attempt to sit in this chair, you would not get onto that bus, you would not drink that water.

For every time you carry out such an action you depend on the notion of faith that what you're expecting will come to pass. The chair will not collapse, the bus will move, and the water from the tap will quench your thirst.

The passion of film making
Film making and communications, our work we do employs faith and passion.

For even though we require a skillset, a knowledge of how to, guidance of where to go and what to do, our passion is a redeeming quality that others feed on and off to make things happen.

If you are passionate about your work, others will step forward to aid you in times of need. If you are sloven, then it should not come as a surprise that people aren't rushing to support you.

With passion and faith, the " I want to know" drive, the rewards often materialise.


End note: I got into thinking about this after constructing the Obama video, then Shirley Thompson, the composer rang. I have just come of the phone after 40 mins.

The making of the Obama score follows its own drama, one which she now has a documentary maker shooting.

It involves scripts going lost in the post of rehearsals on the eve of the event, of key members attending to family matters, of the BBC Orchestra commenting on the score. Passion and Faith, Shirley Thompson has that in abundance.

Twitter.com/viewmagazine -Designing twitter background

So there you have it. Twitermania - this year's blog fandom.

A colleague showed me an article. Blogging is dead. It's soo passe'. So fickle is our ferreting for the new, that blogs are losing a bit of their sheen.

It's not unexpected, though blogging isn't and will not quite crash and fizzle. But our penchant for the sound-bite 5 sec clip news; the average length was 20 sec at one point is being mirrored in the new matrix of digital media.

And yes presumably at some point, which I tongue and cheek posted about a while back, the Tweets 140 characters will be under threat.

Two words: " tired"
12.03 : Got job
12.05: I'm so happy. Ur uh! That's three words doh!

Twit backgrounds
So after some attempts at uploading the background, an exercise in bite-size branding it's up.

In the event I trawled the web looking at the number of outfits providing design templates. It's huge. In the absence of Photoshop et al, a worthwhile pursuit indeed.

If you do have pshop however it's worth a punt at customising your online presence

I wanted something that flagged up Viewmagazine.tv and played to the wonderful shoot by David Berman, but was also mindful of being to excessive.

The result I think looks more like a DVD cover with pulled comments from a number of key figures.

Is it worth it? Well you can never tell, but personal branding certainly has moved on since I wrestled with the idea of even having a site.

The rest is the ambient awareness posts that presumably draw in an audience. Supposedly the jury's still out on whether feeding the cat constitutes a level of excitement to draw massive followings.

But clearly there's a celebrity quotient at play; celebrity by your friend's standard and those than don't know you.

Paris Hilton could seemingly sneeze and that'd attract 500 more. Reason, people just wanna know. For me, perhaps you, no such luck.

Then there's the volume. Imagine living your life through tweets ala Truman. That is every half hour a tweet. That's some doing. If you're like me I go in spurts. My life aint that interesting!

And then how much do you follow? This new simulacrum culture of open sms is still sorting itself out.

But ambient awareness is a strange phenom. Hey, I sense a cat rescue coming along.

David tweets at twitter.com/viewmagazine and is producing a video for Classical Composer Shirley Thompson new score for Obama 100 Days, and truthfully it's turning into a min-drama. I need more pics

Videojournalism diary log-leaving orbit

Fans of Capt Jim T. Kirk will recognise the play on the title.

All in day's work having slain a Klingon, fallen for some beau, and had an existential discussion with Spock.

Moments of grand illusion, as this moment I feel like I'm having a Kirk moment, except for the beau. Yeah shucks.

I haven't stopped writing. Our Masters in journalism students are in the final furlong of submission: online journalism and videojournalism. There have already been notable successes in their ranks. But some heavy lifting remains for the coming days.

Meanwhile the Obama video for the South Bank. I have produced a first draft. Reason? I'm still not satisfied with the footage and pics I have, but ever the optimist, I'll push harder next week.
Thanks to Tom ( Kennedy) formerly Wash Post for the contacts his throw me.

Miami University are compiling a multimedia template of ideas, so had a delightful Knight scholar ping me for info. We'll do it, we'll definitely do it.

Next week I'm looking forward also to seeing supervisors of my Phd prog. Liz, the Dean of the programme had some good news around the Outernet, that I have been obsessing about, but not mentioned in recent posts.

I need to give my Phd more love, even though it consumes my waking life. The more I know, the more I understand, the more I understand, the more I know, the more I know, the more confusing it becomes.

Last time I used that was in an article about South African politics, when I was thrust into its politics at the dying end of apartheid.

Logbook some more
This week South Africa went to the polls to elect a new government. I miss South Africa. But hopefully will be there in the Summer doing some training and catching up on friends, and people in documentaries made in the early 90s.

Then it's a 500 days or so towards chapters for my book, which has been very cathartic in some way, committing years of trials and tribulations to this thing we do to paper.

I'm interviewing one of the heavyweights next week in the videojournalism firmament. He Julian was responsible for bringing video journalism to Britain in the mid 90s.

Julian I have recently discovered was the class mate of Mick Jagger (Rolling Stones) at the London School of Economics and has more than his fair share of stories to tell, that made a gathering of us laugh.

Mick: " **** this I'm off to get famous
Everyone else: Yeah yeah yeah.....

Videojournalism... yeah what's that? Should get back to shooting a story at some point. LOL

What's in an idea

It got me thinking, what's in an idea?

For two weeks or so Shirley Thompson, a gifted composer and conductor, whose scores have lit up Broadway, London et al, had asked if I would produce a video for a piece she had been commissioned to make for Obama's 100 days.

Truthfully, I was excited and also fatigued.

At my Saturday morning aerobics gym, party to forty women and three men, myself included, I floated the idea to the group after our morning near-collapse work out.

I rang up a friend Dotun Adebayo who presents on the BBC and left him the idea. He duly emailed back saying he would do so on his next show.

The idea was a little ambitious. I wanted to find a family having a baby likely to call the child Obama. I would film the process; the parting shot, a baby held up to its parents as Obama's name faded onto the screen.

For the parents, it would hopefully be a moving piece, for the birth would be associated with the UK's festival Hall celebrations. I can't say it would make them famous, but I could imagine a quiet sense of satisfaction, looking at their video, with their child, with Shirley's score, played to the public.

The idea worked because it matched the score; the synergy of light and shade in birth and in Shirley's production - an undulating blend of contemporary fusion, crescendos and troughs.

Whats this?
Then something happened!

Nothing. My attempt to produce this on its budget, against the welter of other things was akin to that bout of creative turmoil we all go through when you're working the subject hard- creative angsts.

Then something else happened, two things actually Il Sistema, the Venezuelan Youth Orchestra were in town. I went to see them and their magic, their passion, their fullness was infectious.

I whistled so loudly I almost blew the ear drums out of Yoletta, my host on the day.

I came home reinvigorated, but still not thinking of Obama's piece.

But frankly you could have put a metal sheet in front of me and I would have attempted to produce a miniature Bo, through the wonders of origami.

The next day, Shirley rang: " I have been up all night she said. I have finished the score and am set for our first rehearsals"

Such is Shirley's pulling power that a number of high profiles - an opera singer and Mark, the inspiring leader from the BBC's highly acclaimed Last Choir standing wanted to get involved.

We met at the South Bank. She opened her Mac, with Sibelius chiming - a software programme for classical musicians - and with two mums and their toddlers gurgling and throwing toys in the background she guided me through five minutes of the transcendetal.

What happened next?
"Obama"

Shirley leaped out of her seat and hugged me.

"Obama" - we all both looked at each other.

It may see obvious now that a score celebrating Obama, should in fact have Obama.

But the first time she played the piece it wasn't. This one was.

Simply take video of the president and treat it in post to the score.

It was so obvious, you're probably going "Phut! "You creatives, problem is you're not".

Shirley and I share something in common which we discuss her music. We visualise it. It's not anything special other than a photographic interpretation of sound. We all do it. You hear a bip on the road you think car. In our case we're walking through the script of a film evolving.

And so, this morning after thinking where can I find Obama copyright video, the US Embassy, a delightful and helpful woman pointed me to mp4s, which are now downloaded to my Mac, sitting there, well, waiting to be treated.

Some time later this week I will have the score on my laptop to play around with. So much ado about nothing then. A score about President Obama, featuring Obama.

What's in an idea? Sometimes the idea, simple, unburdened, seemingly ethereal out-of-reach at first is the story. And when that happens it's a mesmerising experience.

Call for Obama pics

Call for Obama pics for 100 Days festival at the South Bank Centre

.

Hi there I'd like to mix your pics of Obama with an original score of Brit composer Shirley Thompson http://tinyurl.com/cr9zh3 Interested ? Please contact me at davidg@journalist.com

The montage will be playing at the festival hall and I'll make sure you get your image credit.

David
p.s I have heard the score it's brill

PR Video - say it again and again and again

Like the say, say it again, and again, until it becomes part of the subconscious. Good selling. Good promotion. but how do you say the same thing over and over again without turning off the audience.

Humour and a good script

Viewmagazine.tv - how tos and Advanced Videojournlism and storytelling

Viewmagazine.tv - how tos and Advanced Videojournlism and storytelling

The VJs -inspired by The Wire

Editor: so you one of those VJs?
Senior Editor: what!
Editor: VJs!
Senior Editor: DJs?
Editor: VJ, VJ, short for videojournalism
Senior Editor: V-O-D-O-O J-O-U-R-N-A-L-I-S-M What's that?
Young guy: Hey Ol Man It's video journalism. Not Vodoo, Not Vagner spelt with a "W", Not venerable. VIDEO. But I guess you're too past it to know we stopped using film in the 80s.
Everyone looks stunned.
***n it. I'm not going to get job now so I might as well speak my mind.
Trouble with you guys is you see a guy with a camera and think cheap. You'd balk at the idea of seeing Velázquez hold his own brush. Or that it takes two people to drive a car: one on the gear lever while the other shouts "move away". We've moved on. But I guess you still think Citizen journalism is some one's dyslexia for Citizen Kane.
Stop. Look out of the window and watch. We're now in colour. Video. Video. One person and a camera Phut! ( Shakes his head)
Door shuts
Senior Editor and Editor: What a strange man!
Senior Editor: So who's next outside?
Editor: Some guy with typewriter sowed to his head. Calls it blogging!
Senior Editor and Editor: Ahhhhhhhh

Series tweetish 1 here Does he get a vest

Use the web for this Gov.20

Looks Brill. FAB
Former student of mine, talented videojournalist Matan emailed me.

"Us Now

A film project about the power of mass collaboration, government and the internet"

This is why I got into film and then videojournalism story telling to break free of reductionist 8 calories newsbite. Take a big subject, Nat Geo in scale and go at it.

In some respect this isn't easy. It employs metronome and a skilled visualist, but it's what videojournalism producing/directing was born to do.

Rip out and create your own agendas via the use of charges, character development, sub arcings - all terms that might be anathema at first.

I'm not here to steal US Now's thunder, but it reminds me of a programme. BBC Reportage circa 1991, when as young film makers we were playing with MTV's accelarated form. This is about Crime

Many of the film makers here have gone off to make top flight shows today.

Right! back to this film. I hope USNow continue in this vein. There are many more of these that need to be made and the resources lie in the hands of those with the passion and commitment: and the doc-feature skillset. Give me a call :)

VideoJournalism CV, Global Training and Thanks

Viewmag.blogspot.com visit map

Thought I'd take time out to say thank you for your company. It's easy to take the web for granted now, but this map illustrates how far and near you've come to pop by and share in some of the debates and, sorry, the odd pontificate.


David Dunkley Gyimah -Videojournalism Trainer from david dunkley gyimah on Vimeo.

I'm not posting as frequently as I can, but as the summer draws near and I look forward to the traveling, sometimes to conferences to talk, or training, please allow me to post here a video CV.

It's fairly dated, (2006/7) for the speed of change in web and videojournalism standards, but hopefully it should provide a snap shot of my past. For more up to date info please visit viewmagazine.tv

If you're interested in talking or exploring some ideas do drop me a line at david@viewmagazine.tv. Look forward to hearing from you.

Talks and debates

1. David in conversation at the Front line Club with Christiane Amanpour about future TV and the web

Radio and podcasts

2. The pressures in international reportage reporting Radio and TV. How do you perform fast turn arounds sometimes with no time to think? What are some of the techniques which can also be transfered to videojournalism.

• a. Clip of report whether South Africa will have an election and rid itself of Apartheid
• 
  
• b. Various clips from presenting BBC radio in London, national radio's 4 and 5 and reporting for the BBC World Service
• 
  
• c. Working as an Associate Producer for ABC News. Just how do the US networks do things differently from UK media?

Multimedia and International Relations
Britain's leading think tank in international relations and diplomacy and which coined the phrase after its name, Chatham House. Its sister organisation which it shares much in common is the Council for Foreign Relations ( US).

Chatham House rules when invoked request that name, identity and affiliation of the speaker is not revealed.

I have been a member of the think tank for 15 years and am a firm believer in its ethos. Here in an extended interview I'm about to interview the director. Previously produced a range of multimedia promos for them.

Future of Videojournalism

Bold claim! The Future of videojournalism. I have been working in video and journalism for 20 years for some of the top brands in broadcasting.

Many of those played with the image and broadcasting techniques. Reportage, BBC Newsnight, Channel 4 News

In 1994 when I first became a dedicated videojournalist, I'd had some experience with the image-narrative and image movement.

Today we might ask with the ubiquity of video, what determining variables will ensure future targeted audiences. That's what I have been researching. This is approached in another way in The Tipping Point.

What is, and I apologise for putting it this way, the subconscious play between the image and user? How can you the news videojournalist construct the image and narrative in an evolving language that meets our televisual literacy?

Some key figures in the annals of film and TV have asked this e.g. Hitchcock and I believe there's a strong purpose to resurrect the debate in the context of the videojournalism auter and video-gandist - exploding movement.

The four images here have me back in the lab testing the entry point of the narrative against the visceral quotient of the image. I hope to bring you some results soonish.




Previous article here on life after videojournalism .

Thinking inside the BBC's multimedia Newsroom

A year ago I interviewed the BBC Head of Newsrooms, Peter Horrocks in a vlog butterfly, inviting bloggers from around the world to ask a question.

I had wanted to explore the BBC's move towards a multimedia workflow, but they were in the middle of the move, which remarkably given the wholesale changes to the newsroom, it's any wonder there were no major clangers to the BBC's broadcasts.

Today, courtesy of the Deputy Head of Mary Hockaday, whom last year I shared a panel with in Podgorica, I was given a tour and the thinking behind the BBC's structural change.

I worked on and off at the BBC between 1987 and 1999, so there's some context I'll be adding to a longer post or book chapter later.

Inside the BBC's multimedia Newsroom
So what did I find out?

A snap shot. The web team's integral relationship to the news operation both in terms of configuration and placement along what Mary referred to as the "hot zones" and "cooler zones" in the news space.

Nothing new you might think, but it impacts on any trend analyses to scalability on the one hand and how new and existing broadcast networks might shape up for future news brokering.

The BBC moves to a new newsroom in central London, broadcasting House in 3 years time.


Three years is a long time in media, and it'll be interesting to see any alterations based on their existing structure, particularly towards servicing IPTV and mobiles, ever growing in prominence.

Broadly the other noticeable, how internally the different machinery within the BBC, which once fostered an internal competitive market, seemed to link together.

There's always been a healthy rivalry within different networks within the BBC, Radio 4 vs News in the days of Rod Liddle (1998 - 2002) and there still might be, but the "eyes across" each other renders programming more transparent.

New posts - a sort of super editor, the Multimedia Editor; and BBC intakes meticulous eye across agency output as much as their own.

In the past I have written on the Financial Times Multimedia Newsroom, the Telegraph and Channel 4 - which dovetails in an ongoing analyses into work practices and how to set up a newsroom from scratch.


Some contextual information. In 1994 the station Channel One, where I worked, and which pioneered VJ as an exclusive work practice produced a template for working multimedia which would be apt amongst today's varying configurations.

I'll write more extensively later.

videoperiodismo - Videojournlism David Dunkley Gyimah's background

I find myself short of time at the moment. I'll resume a level of normative posting at some point, but in the meantime, I'm thankful to Noemi for the translation on my background, and the invitation to South America.


8 days: VideoJournalism from david dunkley gyimah on Vimeo.

"El videoperiodismo es un paso hacia adelante en la producción de noticias televisivas- supone un alejamiento del predecible enfoque que se da en la televisión, el cual, ha permanecido atascado, extrañamente, desde el principio.

Se trata de la nueva generación de la televisión: contar historias sin restricciones, sin los límites de las redacciones tradicionales"

Son las palabras de uno de los líderes videoperiodistas, formador de periodistas en este género de comunicación en el Reino Unido, multipremiado internacionalmente y editor de viewmagazine.tv, David Dunkley Gyimah.

En el año 2009 David Gyimah junto a David Plouffe, director de la campaña de Barack Obama, fue finalista de Twitter at the We Media Game Changers. El jurado opinó sobre el trabajo de David lo siguiente:"Una elevadísima manera de narrar en el periodismo multimedia a través de experimentar incansablemente, impulsándolo al más alto nivel, más allá de lo esperable, de lo tópico"

David es un consumado profesional de los medios de comunicación. En sus 22 años de carrera ha trabajado para cadenas como la BBC, Channel 4, ABC news, Channel One, este último, uno de los primeros canales para videoperiodistas del Reino Unido.

Formador de videoperiodistas

David ha ampliamente desarrollado su visión sobre el videoperiodismo y enseñado a más de mil profesionales de la comunicación alrededor del mundo, ayudándoles a lanzar sus páginas webs,
mostrando plenamente cómo funciona este nuevo lenguaje audiovisual. Periodistas de empresas como Financial Times, el Chicago Sun Times y la Asociación de la Prensa del Reino Unido son algunos ejemplos.

David es también parte del jurado de la prestigiosa Royal Television Society, la Sociedad Real de Televisión, y ha realizado presentaciones para The World Association of Newspapers o empresas como Apple Inc, por nombrar sólo algunos ejemplos. Andrew Brown, editor de política, y Jon Snow, uno de los presentadores de noticias más prestigiosos, han destacado sus trabajos por la originalidad.

Si te gustaría averiguar más sobre su carrera, contar con David como asesor o formador para tus proyectos online, multimedia y de videoperiodismo, puedes hacerlo visitando su web en inglés, aquí (Enter).

Creative walk abouts

Brilliant day down in central London at the South Bank centre talking creative stuff with Rob, the ronin, whom I consider one of the UK's most contemporary visual essayist for his generation.

We got to hang out exploring some of the world movies on show e.g. French and history of Cubby Broccoli, behind James Bond.

For a bank holiday and in spite of the rain, the centre was pretty packed. It's such a creative place to settle down for a coffee. In fact next time I there I'm going with my laptop as the lounge bars offer free wifi access.

On my way home I was inspired to make this doodle. Can't remember the last time I tried to draw. LOL The Birth of VJ Cool.