Showing posts with label Brian Storm. Show all posts
Showing posts with label Brian Storm. Show all posts

Friday, September 09, 2011

Creative fight Club - working after the Storm (Brian Storm)


Tyler Durden: I want you to hit me as hard as you can.
Narrator: Why?
Tyler Durden: How much can you know about yourself unless you have been in a fight.

 WHOOOOOA! WAIT.

Fight Club is a phenomenal film on so many levels: the script, the directing (Finch); and the philosophy embedded in the above statement.

Now for the many of us who don't want a fisticuffs and bruised body's there's something else to savour.

I rephrase: How much do you know about yourself unless you have been in a creative fight?

As much as I can, I take the chance. I cheat a bit because as a lecturer I get some students who creatively push me. Educationists and trainers know about this. But then there's the other side, the hardcores.  These are the pros at the top of their game who in Bergsonian speech:

"...imagines relations of magnitude, which adjust themselves to one another. mathematical functions which go evolving and developing their own content: representations, laden with the spoils of matter".
Bergson's talking about philosophers getting to grips with consciousness and images in Matter and Memory published in 1912 (I have become interested in memory as storytelling). Yesterday I was in Brian's creative fight club. Brian Storm of MediaStorm.

"After Fight Club Brian we all started seeing things differently" - (Fight Club script).

Creative Nudge
You know what it's like, someone, sometimes, does that. And then YOU raise your game. They're human catalysts: the preacher, the pastor, the professor, the evangelist.

Sit down and listen. Really listen. Humility matters. Because sometimes it's not only what they say, but the chain reaction of a series of unintended consequences that they trigger.

Brian Storm with Ex BBC Foreign Affairs editor Vin Ray and a couple of us in the Frontline Club after Brian's session
In the bar later we had a chance to catch up. I saw Brian present in Miami Wemedia  two years ago. I was "squint eyes" impressed then, as I was yesterday, but this time I got a more in depth measurement of his philosophy over the day as he set about deconstructing what MediaStorm does and its knowledge value.

I have worked for BBC Radio over many years before going into TV, so I reckon I have a firm understanding of many of the principles of sound and few people do sound/ audio better than the BBC. But Brian has found an illustrative way of informing learners that is elegant, powerful and compact.


This is one of my first BBC Reports in 1988, having just graduated It's Nelson Mandela's Tribute Concert at Wembley with Peter Gabriel, Natalie Cole, Anita Baker, Neil Kinnock MP etc.

Uber Adam Westbrook and Producer/Director
Jane (Fandango Media)
On his format for storytelling he's tapped into the rich seam of Sassure's and Walter Benjamin's semiotic to unveil the meaning of the image. It's a masterclass in visual language without the accompanying epistemological terms of signified and signifier or Benjamin's Punctum.

His publication continues to grow as he builds on a strategy of firstly an absorptive form of storytelling, yet also addressing subjects, that mainstream media would deem difficult and thus leave. I speak from experience here having sat in untold number of network TV editorials. Therein lies Brian's humanitarian spirit, displayed further when he talks of his company as purpose-focused, rather than profit-focused.


And then from his past, which raised a chuckle for me, how he has drawn from a penchant to experiment and build, whether it was at MSNBC or Corbis. The irony, where he tried to do so much, but ultimately hit a ceiling became the defacto inspiration that forced Brian him to make his own way, and what his company is today.

Chuckled, sorry, yes, because I too remember the dark days and nights of quasi death marches creating CD roms on Director 1; burning through hundreds of CDs because they would not self auto start, because a line of lingo code gone astray.

Playing to the Audience
Then there's Brian's hidden pièce de résistance - his player. Built from the ground upwards, it's frankly something you might have expected from a bespoke tech-player company e.g. Brightcove et al. But it isn't because Brightcove's profit perspective I suspect rather than the customer focus played to a different strategy. One that had many users smarting when Brightcove announced they would cease to share their player with the creative community -sans fee.

The elegance and backendness of MediaStorm's player  hides a potency that is persuasive. It's designed to meet the solutions a producer encounters. You want one :)  It's a matryoshka gift when Brian breaks open the back of his company's two year old upgraded website - now skinned via drupal. Nice!

The Business end of making money amounts to a book: How to make cool media and sell - MediaStorm, I suspect will be in a bookshop, their own online bookshop - sometime. All of this all snuggly bound together; textual with arresting imagery.


Part of the art of creative fighting is to talk about your philosophy by engaging with others, without any hubris of talking about yourself. What emerges then is a series of narratives of life stories and how to overcome one hurdle after another.

And each hurdle represents a problem that is universal; so it has relevance to you. The brand and the knowledge go hand in hand; they become one in the same. Just as if you wanted to understand ET, you'd interview Spielberg, so here to understand a range of media variables in the intensely-unfurling-evolving-media, you speak to Brian.

My motto has always been, "if it hasn't been done, it's waiting to be done",  and the journey to get something accomplished is a narrow and lonely one -at least for a while. And that lastly don't hide it, don't leave it under a bushel, but that in the process you will find naysayers telling you it can't be done.

That's almost the theme for doing a PhD in the academic world. Brian reminded me and many others of the creative fights needed to up our games in in the public world. There's work to be done after the Storm.


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ABOUT DAVID

Apple Profiled David Dunkley Gyimah is a Knight Batten winner in Innovations in Journalism and an International Award winning videojournalist, among other accolades. He publishes the award winning  viewmagazine.tv and is a senior university lecturer, artist in residence at London's prestigious Southbank Centre and is completing his PhD in innovative news at the SMARTlab University College Dublin. His part includes working for the BBC, Channel 4 News, ABC News ( South Africa) and devising news programmes and training programmes around the world over a 25 year career.
 


If you into creative media working with the BBC we're organising another creative fight club" on videojournalism. I can't wait.

p.p.s  A big thank you to Charlotte and the FrontLine Club for hospitality - as usual. And for the free membership for yesterday only of the Front Line Club. Hurray!

Saturday, March 05, 2011

Media Storm, Ilicco Elia, Death Marches - taming online for future journalism

Reuters Ilicco Elia drops by lectures to critique work and present
Read this: Masters web sites front pages- Go beyond the blog

One day in the Masters in Journalism Online module and student teams are now counting the seconds to go live.



Three teams of eight have been "death marching" to hit the publishing deadline after 6 weeks studying how to build and comprehend online communications. It's not over yet too.

The term "death march" has its contemporary roots in software development but came to prominence  in the late 1990s whilst working for a number of dotcoms. The verge of web 2.0 and funding to launch meant no one slept.

It's a death march because you go with little sleep or food over a fixed period to get the job done. Edward Youdon's Death March  is worth a read.

So far the present crop of Masters cohorts have taken in CSS, XHTML, Flash, Pshop and of their own volition Jquery and Java Script and more. That's the software bits, but there are development formalities that arise evaluated within  a real-time workflow.

The module is given the alternative name, "the rabbit hole" for a number of reasons related to Alice In Wonderland: night and day blur with an array of madhatter problems and solutions thrown the students' way.

The default is to test cohorts to unconsciously make mistakes and deconstruct afterwards thus making less mistakes thereon. The value of making mistakes is a symptom of creativity, and thus should be welcomed, particularly in the hypemedia landscape - where no semiotic is fixed.

From design, brief, team management, workflow, creativity, and server technical support - if its part of the real-world it goes under the microscope.

To say online is not for the meek is putting it mildly as the course is designed to not only test new skills, but behaviour and group dynamics  - often employing the wisdom of crowds.

The new journalist
This coupled with the documentary module, which uses one aspect of my videojournalism praxis provides a thorough grounding in creating a new modality of journalist.

If docs is about affectivity, then hypermedia, where we are now, is about delineating the nature and notions of how to deploy affectivity.  That is how and what do you do to alter the state of something to become more tangible.

Similarly, the move forward in online is about interrogating classical and contemporary spaces and their role in a post-post structural society.

Post structural here refers to dissociative position given to deconstructing language. The world we now inhabit can no longer be interpreted by an exclusive fixation on semiotics or psychoanalysis but more fluid visual methodologies.

For instances in News you're told you can't do a jump cut ( classical); but you can in post structural because the language now is meshed - a disruption accelerated by Youtube et al

Industry giants
So what better way to rattle the cage of journalism and communications further than to bring in two industry giants thus far and a third and fourth looming.

Firstly one of the Guardian newspaper's top 100 influential media people Ilicco Elia, who came in on a lecture and roughed up ( in a very nice way) the students and their work.

The way Ilicco works is so naturally unnatural. Within a minute he had the students at ease critiquing their work with comments such as: "I really like that", and "your information architecture is the pointing the wrong away from your work".

Ilicco's cameras
Ilicco's passion as one of the UK's leading mobile technologists, knitting content and audiences, is pushing mobile content. No surprise then when he emptied his bag. This is what fell out: 7 mobile phones, not counting his Ipad, pc etc.

His lecture on a Reuter's mobile capabilities and how audiences  benefit from real-time transmission of pics (during the World Cup, the system he helped develop meant he received a photo of an England goal within 15 seconds) underlines his philosophy of
distribution.

Incidentally if anyone from Canon, Sony et al are reading this, I agree with Ilicco's thinking that it's high time pro cameras were fitted with wireless relaying devices to push pictures to consumers.


MediaStorm
Student listening to Brian

Later in the afternoon the founder of one of the world's leading multimedia agency's MediaStorm's Brian Storm, skyped into lectures giving students around an hour of Q and A.  Questions ranged from his unique methodology, his background, how he started and how interns could join his outfit.

Brian was equally superb: what does it take to be the best? Passion, passion, passion, he answered. You don't do journalism to get rich was his payoff.

I want to pull out one story he told that illustrates a candidness and doggedness exemplifying a schema everyone should adopt. Conversely this story also highlights what goes on beneath his highly finished products - a rare insight behind the scenes.

Brian Storm, Mediastorm founder talked about the making of this story
The story relates to abortion of female sexes in areas of India. An intern with local knowledge and the appropriate sex ( something that may not figure in the editorial meeting in Western societies) was instrumental in securing interviews.

The production then wove Walter Astrada's (photographer) narrative and that of the story itself into a seamless production. It was in the post where things got interesting.  Brian said they had to rework the female-voiced narratives a couple of times, with user experience feedback before it truly gelled.

Brian mentioned they have a number of projects in the works, not least their publication, and various workshops where the MediaStorm brand has fast become a working methodology.

You can find an interview with Brian which I conducted in Miami, where we first met and a feature on Ilicco hosting a mobile phone gathering of experts at Reuter's London HQ here.

Meanwhile here are some some shots from the lecture and online newsroom caught by Masters student Valeria  - an accomplished photographer in her own right.


 To find out more about the sites being launched go here:

Read this: Masters web sites front pages- Go beyond the blog

To find out more about Masters in Journalism programmes at the University of Westminster go here.
To find out more about this author's work in new journalism go here to viewmagazine.tv
The views here are my own and do not reflect policy of the University of Westminster.







Thursday, February 26, 2009

The new mediaists - photos

Pics from wemedia.

Brian Storm of Storm Media with Jessica Stuart, Project manager and Tom Kennedy, formerly Head of Multimedia at the Washington Post. Out of shot, you can just about see his hand is Rich Beckman - often referred to as the Yoda of multimedia [ I heard that]


Pic of Tom and Jessica free framed by Chad of Wemedia. That is Chad's not looking through the camera and just firing off shots. Free framing is the new in thing now. Produces natural and sometimes beheaded shots.



I so loathe posed shots, but I was more than up to taking a snap with some of the figures I revere in this emerging profession. The facial expression is me barking at Chad, who's just free framed and is now having us count down for the shot.

Chad it's digital, blow film :)