Role models

Politics and role models
As always this canvas allows me to scribble out some thoughts before refinning them within viewmag. I've stumbled upon a magazine article amongst my papers. Yep I'm a lab rat. I hoard things. Dear me! But this caught me sideways.

It was May 1999 and the Evening Standard newspaper asked 11 different professionals to a studio where we would have our pics taken and an article written about how well we are doing.

Don't worry I shook the self aggrandisment a long time ago, but it is the art of relativity and my agent back then was keen to show me off. Amongst the group one Zadie Smith, author of White Teeth and the Dotun brothers - very clever people indeed.

Eight years on in reflective mode and in a political setting where we're told youngster, black in particular, need role models like they need ipods, I'm asking what's the point of role models.

Be careful now. It's a loaded question.

A couple of years back I was in the position to be one of the filter markers for the Economists essays. The question was: What is nature? Often the simplest questions hide a potency. It was a real joy going through papers. Some took the sledge hammer approach. It is, it is, it is !!! Unequivocal statementts piled sky high forming a tower, shaky one, of opinion

Others massaged and kneaded and eventually came up with something that filled you with wonder. I remember some one from India living in New York. His window hung over a tree where a bird was nesting with its chics. The tree became nature and everything else revolved around it.

So hopefully if I ask if there's any point in role models, I'm not being entirely obtuse. But I ask nonetheless in an environement of assumed conflict and chaos within our system.

First do I consider myself a role model? And if so what have I done about it? Told you these were loaded.

I'm aware we all need "heroes". I have my own and they are many. But I don't subscribe to titles that are vessels for vanity. Sod that! I took up lecturing because I felt I had something to offer. I hope I still do. I'm also acutely aware of often the lack of 20:20 from youngsters into some of these strange adult worlds we inhabit.

A footballer interviewed over the weekend enjoying a call back to the Engglish squad was asked whether he was a better play. Wiser one, was his reply. We stand on some shoulders to see farther.

Often the mere mention of being a journalist can often yield strange remarks: " Yeah you write in a newspaper. Do they pay you?"

So in moments I do set myself tasks and try to ensure there's a win outcome for those concerned.

Right back to the central question. What's the point of role models? A handy political weapon of choice, a genuine attempt to make some good. It's mired in ambivalence.

But something is clear, somewhere down the high school level, pre in fact are young minds amoebically taking form. Yet somehow their exists a vacuum, politically deficient, in nuturing their talents. Often by the time they've reached a decision where universities or otherwise may be a option, they're not equipped enough to make choices.

So along with the mad proposal way back to be involved with producing a new genre of journalists who insanely believe they can make a difference, I add a new pathway, say within universities, where structurally it makes it more possible to foster and nuture those indeed who might look up to others they deem role models.

A program that indeed bridges the divide not for political gain, but something richer. Can that be so hard?

the process of thought

It must intrigue you when you think you've come up with an original thought only to find somewhere someone a long distance away is revelling in the same mental break through.

It's no wonder most scientific discoveries involve some form of horse race to unravel what ever. I once remember watching that great dancer Gregory Hines talk about a new move he was proud to have invented only to find out watching black and white movies that Fred Astaire had executed the same sequence many years back.

Nothing is sacredly new.

On a much much smaller scale meeting the founder of visual editors, Robb Montgomery produced some of those moments.

Rob demonstrates on his blog today something I talk about called the IM6 approach - integrated multimedia.

He has a podcast, then with the same pod he adds pictures and then a third, he goes for video. Take your pic (er pun) really, but it is a version on the theme that CNN International may be responsible for: Kill what you can eat and don't spare anything.

Hollywood's done good at this approach in recent years. Make the film, make the making of the film, take the snaps, release audio for the radio stations, now produce killer sites and let you download the trailers.

It's a 4d quadrant approach. In a matrix sort of way it's like taking the vectors of the word "news" as applied to its regions: North, East, West and South and coming up with an imaginary (i) vector which we could quite simply call i for interactive.

News has a fifth vector but you have to work it. Robb also proves the other theory that "smart" people pick up things and work, re work them. You don't need to have been a broadcaster to be brilliant at being a broadcaster.

It's what the Harvard Business Review might call the Integrated approach, but simply it's about observing a paradigm an incorporating it into the body of your work in your way. There's such fluidity. I have already got onto Robb about some of the wonderful mash-ups he's behind.

This process of design, motion, video and obviously creative thought is behind my Phd which finally I have got round to applying and have been accepted.

If what we're doing now is considered revolutionary, how might we look in 10 years time?

Can we as a more networked, wired generation, shake of our antipathy to change as a threat, but as an enabler?

Can we trend extrapolate from the visceral and emotional qualities of story telling to get to a space where it becomes even more compelling. For instance, is there a designated size online, audio pass etc which triggers greater viewing pleasure?

And as someone joking said if everyone's publishing who's the viewer? That's an easier one.

I have come to love this saying now, It's about technique, not jus technology

City of the Dead

Couple of changes to viewmagazine with 800px video strips and an article and video on international assignment. Cairo was awesome and I have more than enough hours to produce a range of mini docs.

The landscape and architecture, French influenced in places, was intoxicating. Robb (Visual Editors) and I produced a podcast which is on Robb's site that sums up the last days.

I'm looking to open up more and become more expansive in pointing to original work I'm coming across all the while. Currently watching Beastie Boys - Isle of W. festival - Whoah that takes us all back.

Now then did I tell you about the city of the dead - a region in Cairo where about five million people live amongst the buried. "For many Cairenes the City of the Dead is a mysterious, foreboding area. Many Cairenes are aware of its existence but few understand this group of vast cemeteries that stretches out along the base of the Moqattam Hills" More from this website which captures it pretty well.

Energy and Entropy in Video Journalism

Energy and Entropy - a video journalism perspective.
I don't always find the opportunity to pull directly from my first degree in Chemistry and Maths (Applied Chemistry) but as a friend made me aware from the clip playing on Viewmagazine.tv I talk a lot about the energy of the lens.

It sounds ludicrous, but it's one of the components of video journalism I believe determines how a film wil be received.

And like Chemistry the more I flux and reflux what I'm doing, the more I'm seeing new constitutents.

So with any luck and time, in the coming blogs we can talk about things like. The difference between video blogs and video journalism, which incidentally from Egypt Robb Montgomery captured me here after my talk making a couple of points.

By the way, I'm not anti-TV. I love television - an electronic canvass - but I'm anti the prescriptive attitude that says things can only be done in a specific way, which television heavily subscribes to. It's important then to note that Channel 5 and other networks have very recently announced they are to do away with "walkies" and the "noddy". That is major.

TV and video journalism is a bit like a wedding do really: the official photographer providing stately shots of you cutting the cake, getting into the car, taking your vows and then if you can afford the alternative documentary photographer s/he will shoot you unknowingly in intimate, less obvious moments.

Horses for courses. Parents might by and large adore the "fixed" shots while others want a different mis en scene.

Video Journalism Energy Lens

You witness a fight, an exchange of fire arms, a crowd running for dear fright. The scene is frenetic. Your eyes dart around for visual information and as quickly as you're processing, your whole physical body is exhibiting the behavior of chaos.

The key to being a good camera person is this: Let the action take place within the lens.

So rock steady shots are the stock in trade. In an aggitated environment rock shots still work, but what happens when the camera itself becomes a character, mimicing your behaviour.

This is the Energy in the lens principle - for want of a better word.

Homicide was one of the first contemporary dramas to experiment with this form, 24 also uses it with its arcs, countless docs have so as well, but the two best examples are "Bourne" and the opening beach shot to "Saving Private Ryan".

In both cases, the directors are unleashing secondary energy from the character of the camera. Finding the right score, if you're making a doc then can make all the difference.

The dirtier the filming, the more enhanced the look. Dirty filming - No not that- refers to film making where there is no clean line of sight. There is almost a voyeuristic sense that you're being allowed in and this inate genetically encoded quality we have of eaves dropping, rubber necking, and being nosey parkers, means "dirty film making" is heavily appealing.

Early first geneation film makers with their cameras called their films photographic reality. This one here Battleship Potemkin made in 1925 by Sergei Eisenstein is a film that needs no introduction if you're a movie buff. If you are and we sat down over a drink, we'd talk till the cows come home.

What's instructive about this is where Segei pulls in the energy. Principally movement, shape and form. Incidentally for non Sergei fans, this is the famous scene recreated in guess what movie with Kevin Costner.



Energy in the lens is the same as the sweeping strokes by impressionist on their canvas. The term is not new, but it's something you're rarely hear news and feature people talk about. For me it's one of the fundamentals.

For if you understand the story you can control its pace and rhythm - it's energy - which in turn should determine it's watchability factor - hopefully.

You say VideoJournalism is **** I say look beyond your walls

A more considered piece - an article for viewmagazine.tv

A huge experience talking to Egypt's industry heads and academics. Here are some bullets that apply across the board:

* The VJ debate first viewed sceptically has gained a lot of admirers.

* The sceptic thing will never go away, whether you're in Cairo, Chicago or Chelsea, but Vjism is not a one size fits all. We've made programmes on cars e.g. the new Ferrari, Fashion e.g. The Mayfair Club

* In news it can be used to mop up, add on, or be exclusive

* Video journalism, multimedia journalism, integrated programme making, 360 degrees programme making - all fall under the versatility of media making. The VJ ( video journalist) is the VJ ( Versatile Journalist)

* The disruption and in-fighting to new methods and technology is as old as the first neanderthal to discover fire. In the middle ages new methods were deemed witch craft and would have got you killed. Thank Goodness for now.

* The biggest disruption is about four years away. IPTV ( Internet protocol TV -becomes universal) and greater bandwidth 10 mg + at greater MPG X compression. where x>10mg

* At the point of ease and simplicity where broadcast quality can be compressed and decompressed from point of origin to the source, with negligible differences, a further disruptive path will be introduced.

* Enhanced video players multi-simulcasting ( IPTV) on home systems will be also be paradigm breaker.

* The only difference between newspapers, TV and made for broadband companies will be the attitude of their CEOs not realising, it's about technique not technology.

More on viewmagazine.tv

Video journalism's special forces

There's no bravado, we had no prior recky, but the camera and experience would give us the edge.

Videojournalism is technique not technology.

The big crews arrive, stating their aim. We arrive wanting to be invisible, working within an ecosystem which comes closer to capturing the moment.

The traditionalists want to rearrange their ecosystem: You stand here, let's rehearse the questions, can I get you to say it this way, oh and if you don't mind walk from this point to that.

Ours is best served undisturbed. Go in, get the story, and come out. Often the "in" can be embedded. Stay with the subject enough to feel their pain, emotion, their story.

The construct is personal, the camera becomes a subject in itself. It's technique not technology.

The art of one person making films is not new. It was born the very day early cinematographers unveiled their box cameras and cranked away at moving trains, scaring to death cinema audiences.

But then it grew, cinematographers developed their craft and invited in directors to handle scenes an actors, and sound personnel to operate "car-size" sound equipment.

We've come full circle and both the gear and techique look to a new language of telling intimate and rich stories.

Video journalism today hovers between grafitti in a world of classical paintings and fake impressionism; personal tags and expressionism, and dogma film making eschewing all thats cumbersome.

There are many styles, but above all the key is that one person skilled in drawing out people, understanding how to construct on the fly, possessing a visual literacy, can tell a range of different stories - from a 1.20 piece to a series of hour long docs, will with little fuss.

The most archaic tool of news decision management is the agenda. It's not scientific, reliant instead on good judgement developed from years of experience, but even the wisest would not deny that what's good for the goose may not be good in the source.

What you want may not be what I want, but it doesn't make it less important.

Videojournalism - the versatile journalist. It's about technique not technology

Emerge and See

Storytelling through Motion graphics via presumably After Effects . The winner Watch big brother state. Nice

From site "EMERGEANDSEE is proud to announce the winner of the competition: David Scharf's film "The Big Brother State".
The critical animation about public surveillance methods was chosen by the jury among 30 excellent submissions"

Four reasons to publish adopt videojournalism

You've head them before... but here goes

Cost of Entry

My Mac cost me around £2000
Its software is around 1000
My camera cost me around 1500
Hard drive about 500

For that I have a fuly fledged broadcast or web enabled broadband cast studio
You can even go lower than this of you're aiming soley for the web


Quality of Service

HD or DV - take your pick


Online Traffic
A good piece will drive eyeballs to you


Advertising
Two newspaper heads tell me they can get up to a million pounds for their video site attracting advertising.


Ah well!

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.

Grrrr What's wrong with these people

We are going to provide drop off zones for those possessing guns to drop them off anonymously

*&^$£K_"{@&((*U) HJ F£@^* )*&^

That's the best proposal the government can come up with. Help Us

Rather reminds me of an item that's stuck with me from years ago. A very nice mother working in social services when asked on TV what measures she would undertake to cope with unruly youngsters in her charge, said in her shrill voice: "I shall tell them to stop".

Hi Darling I'm home...
There's all these shootings going on..
What shall I do?

I know I'll have drop off zones. That'll do it
Now then where's that party and what time are we supposed to be there.

Brit Youth Crime

Feeble responses, knee jerk reactions, liberal laws, lack of social understanding; when you look back on successive governments no one has had a clue how to deal with crime.

Is there a way?

Many agencies and critics have provided focus, but with governments this is politics and what's right for people as opposed to political careers and ideologies won't necessarily see the light of day.

This is a report I made for the BBC's network current affairs programme in, wait for it, 1992 about youth crime.

When you watch it you might ask what's changed?

I guess a lot more rhetoric from all sides, but understanding? That's debatable .

The argument and I believe a strong one is that if you've never experienced or been privy to war and its consequences, it's easier to do war.

If you've never see the ruins of crime, been at the coal face to be covered in its grime or taken an active social interest, not because you have to, but because you want to, then tackling crime appears problematic.

BBC's Clash of the Gladiators - & TV/the BBC under attack

TV under attack, the BBC in particular Image from Viewmagazine.tv


"As you repeatedly say John"
...the attack on the BBC?
"Yes you've repeated this three times so far" (raising his voice).

"You keep on banging on about the BBC".

"John, you're legendary grumpy in the morning".

"I might have to ask this question several times".
"You seem to have already done so".

"You (John) know what an I-player is don't you?"... ......OUCH!
"Yes".

"Do you believe we're not making enough quality programmes to justify the (BBC) license fee".
"I didn't say that".

"We don't ask for the money".
"Well I don't you might do".
(Embarrasing laugh)

Absolute pure theatre. Take two of the BBC's most feared interviewers and the aformentioned is what you get. Don't ever say the BBC's impartial to its own. This could have been John Humphries interviewing Tory Michael Howard ( they've had legendary clashes) or better still an axe murderer.

But it was John (the rottweiler on the BBC Today programme) interviewing Jeremy Paxman, (the rottweiler on Newsnight) whom the previous night had delivered the MacTaggart Lecture criticising the state of televsion with a few salvos at the BBC.

Both men appeared to annoy each other, with off cuff remarks, and bar humbug tututs.

Jeremy's "You ( John) are legendary grumpy in the morning" will become the quote to haunt Mssr Humphries and provide much merriment for his foes.

If you're a journalism student find the podcast: a lesson in interviewing people you know. If you're a professional Jeremy offers some salutory tips on how to cope with a difficult interviewer.

Hahahaha Brilliant

Clear out a whole tier of the BBC was one of Jeremy's conclusion, and perhaps the BBC ought to be doing more for less another suggestion - when they managed to put down the pillows laden with lead.

Wonder what both of them are saying off-mike

Here's what the BBC's Director General Mark Thompsonhad to say about the new landscape and digitalia when I interviewed him some months ago.

Pop videos - VJs versatlity

One of the interviews I looked forward to about this time last year was with Flash web designer Hillman Curtis.

If you have no idea who he is; I didn't in 98, then google him. He is to Flash Design what Rageh Omar is to news, cool and a leader with a pioneering style of his own.

I'd read on many occasions his self-taught style to film making and in particular how he ballsed up on one or two. Sure enough, candid and self effacing he said what resonates pretty loud with me.

"I messed up a music shoot badly. I know what I do well, so best leave music shoots to others".

I have just finished a music shoot for a friend and was TDB yesterday. TDB an acronym from my school boarding days - working Till Day Break. Having got back from a really nice gathering with the FT ( Sorry Financial Times) at midnight, I thought I'd give it a ago.

An hour in and I'd got this segment sorted. The shoot itself used two cameras; one from my colleage Kienda Hoji as I roamed. The logic is to lay continuous track on the number you want and then find appropriate cutaways, elsewhere.

But as you know Pop Music has an edit rate that would give your grand mother an aneurism. But really there's almost a template you can work from to produce a relatively ok video. I had my 12 year old nephew up to speed on his own within an hour.

Not so much then the pop video itself; sorry Like Hillman I'd rather create something else, it's the versatility of Vjism which deserves a mention. Short news formats; long one hours; series; pop promos; ads; and a car show.

My parting shot though should go to where it's deserving; the artiste Nancy Ginindza who's music inspires me.

Grab a camera and VJ

It's that simple.

In the 80s legions of young people blew their life savings on the latest reversioned moog, a Roland TB-303.

A fair few were untrained musicians but, with music coarsing their veins had an ear for street and what a generation wanted to listen to other than what the majors were pushing out.

Bedrooms doubled as recording studios; late night experimenting with samples and loops produced a crop of tunes that would define the new landscape.

Paul Hardcastle's 17, A Guy called Gerald; stateside, Chicago House kicked in. Either side of this movement, forces coalesced and the rest for the music industry is evident today.

In 2001 at the BBC's inuaguration of videojournalism via Michael Rosenblum, I stood in front of the editors about to co-op this new form into their newsrooms.

One BBC Editor seeing some films made by colleagues and me from Channel One TV - the first all VJ news station in London - chewed me out.

"But that looks like any old television news. What's so clever about that?"

My reponse was swift. That was video journalism with BVW cameras and a language which attempted not to alienate its audience. Yes it was TV news, with better sequences, but made by one person.

Then, video's moog hit the stands; the BBC passed out its first, second and so on batch of video journalists and the language of DIY TV entered what chemists wait for, critical mass. That was the UK at any rate.

And it's that language which continues to evolve. It's not prescriptive, and I would argue has no fixed template, which is why anyone with a camera and films to boot can call themselves a VJ.

The similarities with the divisions of young people calling themselves producers can't be lost.

But as in many professions there's the good, bad and er yep darn ugly. This shouldn't stop us experimenting. The key to getting where we are as VJs; you only have to look at the International Video journalism awards to see the range, is to shoot and shoot.

Because just as film making, which is VJ in a nutshell, has evolved, so should VJs style bible. And that includes the traditional look of TV made by one person if that cooks your goose, to the "dirty" look, handheld n' all epitomised in US shows like The Shield, Homicide and Bourne

So far we're still somewhat subservient to the lingua franca of Television, but that's changing. If anything VJ may come to define TV's paradigm ( er really!) just as the major record companies wrenching from the loss of their market decided to bring this "street music" into their corporate fold.

Yep that's right grab a camera and VJ. What's the worse that could happen.

Social society - I don't know you but. . . ?

We've never met you and I. Chances are if you leave a civil [no swear word] comment I will reply. Chances are someone will pick that up and do similar.

Therein is the beginings of a social society. You probably have a social society members card with lots of people you meet online, and through a process of refinement have become friends. I have many myself.

Many people watch television, but they're not neccesarily part of your club even though TV is a global village and you all might just be cheering for the same person on American Top Idol.

Neighbours

My next door neighbours happen to be very good friends, but further down there is little contact. It's a long street. You can't pick your neighbours, though at some point you may have had some influence on your neighbourhod.

Sadly, the lack of any community activity leaves social cohesion moribund. We know little of each other.

The perception of my neighbours further down is shaped by fleeting assumptions and it's not enough.

"Well go over and talk to them", some of you are saying.
"I need a pretext"?
"What do you need a pretext for, just go over a say hi".

Neighbourhood Watch

Many of us moving to new neighbourhoods have done so. On smaller streets there have been gifts: "Welcome to the neighbourhood", but this act of friendship is not universal, particularly in places where there are dynamic changes and in cases you think, "er I'm not sure here, they've got five mean looking dogs".

No, no, no dog lovers, owning a dog does not make you a paraiah. When I lived in Ghana we had 6 dogs. This is all about perception again.

So what's my whole point here? That there is something in the web culture which could be massaged into TV-Neighbourhood land. And it resides in Community TV, broadband TV.

Storybridge.TV is a strong example of the future - and there should be many, many more of these. Local TV, Local Issues. This was also the DNA of Channel One TV - a station in the UK modelled on New Yorks' cable news programme NY1

Here's an example of a typical Channel One TV story, Social Network Justice . Here a housewife furious at the road humps on her street mounts a successful campaign with friends to have them removed by the council. She says she was influenced by Marje Simpson. For what it's worth social web 2.0 is at least 8 years away with this broadcast.

National TV is getting in on the local act, but the underlying philosophy is skewed. It's as if the federal government came to your neghbourhood, put out a long table with some food, and the men in suits said: "Ok guys lets have a conversation. We wanna tell you what we can do for you".

Local TV

Local TV is bottom up. There has to be an affinity with local people. Parachuting in will yield no where near the same benefits as the micro model.

It is TV about the community, giving the means for people to talk about issues and through the visual language find common interests. National TV could never do this, only as a generic gesture.

There is a park nearby. Like an ecosystem through the seasons it is changing, sometimes despairingly. As I walked across it, an elderly woman with three young children was stooping. She was picking up shards of glass from the playing field.

I walked by craning my neck, stopped and doubled back. We had a fruitful conversation. We'd found a common cause.

"Would she be interested in joining a group going to see the council about this?"

She kindly declined. There are, I suspect, many other people like her and me. So I have asked the small group talking to the council if I can make a film about what they're doing. And the film I believe will in its small way, when online, help foster more of an understanding of who we are. It is news, not reactionary, but educational, which in our increasingly ignorant world we need the world of media to do more of.

Local TV, via the net has the unqiue chance of us getting to know each other and not just online.

Do you trust television? BBC Newsnight Editor Peter Barron answers

Peter Barron, Editor of Newsnight, the BBC's flagship news analyses programme is on The Today programme - a national BBC talk radio show which invariably shapes the news agenda.

He's talking about the issue of trust in the media and answering the presenter John Humphries' question about how the TV industry can mend this.

This week at the annual gathering of television's power players, the Edinburgh International Television Festival there will be debate and soul searching on this point.

There has been, it's acknowledged, been a drop in trust in the broadcast media. About half of the people polled in a survey ( sorry will find the link) say they've don't believe what they see any longer. Here's a link to one in 2006 by Reuters.

It comes in the wake of a series of blunders on TV.

Peter is one of the key figures behind this year's festival. You''ll be hard pressed to find video interviews of him anywhere so this is one real benefit of producing viewmagazine.tv as I interviewed him there some weeks ago.

The views he made on the Today programme are very similar to the 2 minute video interview. So click below to hear Peter's prescription for dealing with trust in the media.

TV Interest

My first TV job completeing a journalism Masters was BBC Newsnight in 1990. Peter Barron then was one of the producers. I would meet up with him again when I joined Channel 4 News as a regular freelance producer in 1997. Peter was the deputy editor of Channel 4 News.

Peter is the editors' editor with a deep insight into the new world of Net and TV, so what he has to say has true value.

In weeks to come I'm looking forward to a lengthier interview - which we've talked about.

Trust in the Media, US

Two years ago I was invited as part of a panel to San Antonio to also look at this issue of Trust. The full report can be found here: Trust in the Media

Student journos - It's off for the Telegraph

So what are the newspaper looking for in their new crop of journalists? That's what I found out from a tour a`round the Telegraph. I'll be talking to some of their new journos next month.

One of them is Alice, who made it on to Oh my Newsnight on her second piece.


This is an early piece, demonstrating her prowess as a young print journo turned video journalist . She shot everything her self.

Her email to me ff:

Hello david

Following my VJ training I made a very short film which was selected by BBC Newsnight... 13 films are on the Newsnight website and the 5 videos with most votes will be broadcast on Newsnight in January. Fingers crossed!

If you have time, it would be nice if you could watch my video and give me any construictive criticism (I know there will be a lot!). I hope you are not too disappointed. It is very much presenter-led which is unusual for me as I'm normally so shy but I hope my shots are ok, it was made in a day and a half!

My Video has been (re)named CARBON, it is number 7 on the page:
http://www.bbc.co.uk/blogs/newsnight/2006/12/oh_my_newsnight_the_shortlist_1.html

Briefly; I had a week off and a trip to Poland fell through cause I was broke so shot it in a couple of days. Edited it at work with pinnacle (YUCK! finally got final cut pro on my mac thank goodness). Looking to move onto docs next.

Thanks
Alice

How to create a really cool anti guns ad . . but er.

UK film company Therapy Films have just made a really cool ad against guns, which they shot in the US. No words, shot to a melancholic much used classical repertoire as a bullet pummels through various objects.

Trouble is for the audience it's meant to appeal to it will be as effective as a plastic knife on steak.

This isn't a criticism against Therapy, they've done their job. It's a good piece of film and technically challenging. It was approved by the client. Job well done. Er, £@^%

This reminds me of events in South Africa. A very close friend of mine who is a senior exec at Mcann Erikson Herd Buoys - one of SA's most successful ad companies - said at the official ending of Apartheid, that they ( ad people) might have to go back to basics to get their message across.

They now recognised they'd have to appeal broadly to a new constituent, which needed to be told "like it is".

Tarantinoesque
Having a bullet fly in super slow mo looks Tarantino-cool. That's a lot of cool. Remember the Radiohead video ( I think shot by Artem) or Wimbledon's playback camera at 1/1000th of a second speed or something like that), or the film "Day of the Jackal".

I'd probably want to play around with the camera myself. The IM6 Video Journalism approach rethinks ad/promo production in the same way video journalism does with news. One of the early thoughts is the audience live on the mobiles, they Myspace, they rarely watch TV, they're wowed by DIY video, music ones. So you want your ad to go viral.

Also, one of the reasons why the ad may not be as effective as it should is in all likelihood those you're appealing to have already been shooting off and and are fully aware what the bullet does. We've had series like CSI, ER etc to even give the bullet travel a hyper realistic fashionable look.

Ah, but our ad shows what really happens, you might argue. You could equally argue the actuarist approach. If I can get to one young person with this, we've done something.

Know your audience
If you really want a hard hitting campaign go talk to those with guns.

Where would you find them? Ok if you're really stuck, her Majesty's estate. And whilst there ask what shocks/draws empathy. Find out what negotiators call their "break point" - the point where something makes a difference.

The last shot of this ad, for me, makes the strongest point for empathy. A lone boy standing in the path of the bullet. I'd have pushed that line of thought with 10 young lads falling to the tune of 10 green bottles, re-worded or something, with each of the boys falling violently to the floor till there's none and then pics/video of funerals, because that's the legacy, people hurting really badly.

Also, the pre-teen fronting it is really cute and charming and speaks really eloquently. . . BUT. . . you know where I'm going with this don't you !@$.

OFCOM of course have strong laws governing ads and what can and cannot be shown, but one feels this one will be another oportunity missed. Actually you judge. Might even win Therapy some awards.

Age old question: who's the ad made for? Is Q there, whose film about this subject is doing the rounds.

Crime reporting

London's girl gangs - police estimate at least three "families" in the capital; black soldiers asked to help mentor disaffected youth; the convicted killer of Philip Lawrence Chindamo's deportation row - busy week for mainstream media reportage .

BBC Radio 4's The Today programme produced an edgy radio package for its audience about gangs this morning; overall figures estimated at a conservative 170.

A couple of days ago, another story you can hear their reporter being threatened by a gang of youths as he solicits their views. Some weeks back BBC Newsnight hands over DVCams to youngster for them to tell their story.

There appears the perception that crime reportage is shifting more towards explaining what's going on, rather than always reacting to the latest fatality. There have been many this year.

In print, The Guardian maintains its status quo in reportage - a front page lead last monday. Whilst in broadcasting the BBC seems to be setting the agenda. If the networks don't pick up on it, it is the issue that dare not speak its name.

In a multifarious, multimedia age, you'd think there should be more high profile alternative media keeping this debate going.

Reporting crime has its own risks. I have run into a few myself.

One of the most memorable at Channel One TV coming back from a report and finding my car ransacked by three youths; one still in the vehicle. I was holding a bvw400 camera - cost at the time about 20,000 ukp. So in short if you are doing Videojournalism, be careful.

We often speak about the whizz bang from this craft and not about health and safety. I recall switching the camera on and filming he group as I struggled to get into my car. I showed the footage to the authorities afterwards, but that came to nothing.

Today, if I am going out on a story; I am tonight to help a former student, I go light and would advise as I do to the newspaper industry to use smaller HD cams and ditch the tripod that says "yep in this ruck sack, there's likely to be a camera.

Top multimedia piece - Perseus

Photo/painting courtesy of the 1st-art-gallery.

I stood there mesmerized for ten minutes, just studying the piece.

It is without question one of the most captivating art pieces you'll see at the National Gallery in room 32.

It is Perseus fighting Phineus and his companions by Luca Giordano- October 18, 1634 - January 12 1705. This picture above is a remarkable reproduction courtesy of the 1st-art-gallery who reproduce handmade oil paintings.

Our history consists of defining images, endless unique ones that capture an essence. Director Ridley Scott says the lone image of a gladiator about to slay his enemy was the key to taking on the film, Gladiator. There are many more instances like this.

This is my "kwa", my latest at least. I have seen it before, but now in my directing/producing phase it has new meaning.

Multimedia Energy
It possesses a a kinetic pulse energy. There exists multiple sub narratives within the parent one. Your eye wanders around the piece extracting new information. Even on he balcony in the distance, a figure stirs.

In the National Gallery your relationship between the piece is also affected by space.

The story itself goes something like this: Perseus with the head of Medusa foils his own demise at the hand of Phineas who comes to slay his enemy during a wedding party. The head of Medusa turns mortals to stone once their gaze is fixed.

A Gene of Multimedia
But this piece of art transcends into something else: a fabulous piece of multi media. Yes, there is no visible video, no sound, no photography, no text, BUT all those are indented in the piece.

1 There is movement. Look at the swords you see their end trajectory
2. There is sound. It is ghastly and blood curdling
3. There are multiple photographs, still images everyone makes a point
4. And the absence of text is loud, so loud that you want to know more. You are led to the small slate to read, then delve into books and online to research further. Multimedia at play. Yet also the image viscerally provides you with the narrative.

It is a gigantic multimedia piece. For multimedia is about the relationship between space, time and the essence and not neccessarily about the object and click and point, something articulated long before my reckoning by that great New Media theoritican and philosopher Lev Manovic.

It is the sum of all parts that connect to each other - an object that has branches, leaves and fruit all interplaying with each other which we call a tree. It is art. It is the sum of all media personnel working together, and not necessarily a prescriptive view of one, unless s/he understands the language of others.

And that's the problem we treat multimedia as discreet items collected in a shopping basket and mixed together. The technology is an enabler, the defining moment, the big "C" creativity is more elusive.

The painter Luca Giordano, a Neapolitan painter, is invariably described as the most important Italian decorative artist of the latter part of the 17th century. He was also a renowened baroque artist and printmaker - truly a multimedia artist (in tools and production) of his day, and now.

Intermediation - a connection of ideas
History shows us nothing today is sacredly original. But war remains a window into multiple narratives and we have new contemporary authors who understand ones and zeros doing something with the whole to engage us.

I'll write about that later and the fact that modern day, now defunct, drama such as Boomtown replicates a discourse and template for entering a multimedia piece providing variation and different points of view.

And finally, how that one image provided the thrust for this work in progress with a song from Nancy Ginindza. The song talks about how were not made of a stone and that we are delicate as butterflies. Multiple images flood by. I have used this in a raw state and am yet to post produce with sound and motion graphics.

I could then assign multiple links within the video to link to new narratives using a skewed idea from this The Family created in 2000.

Regarding Nancy's lyrics, as a young woman she articulates a point of view - controlled angst and disappointment about the way we solve issues whether its war or contemporary conflicts e.g the environment.

Listen to her interview in the week before you complete your conclusion.

A work in progress:

What no blog?

A conversation with my alter ego -or is that called Schizophrenia

Alt: What no blog today?

D: Nope

Alt: What nothing happen?

D: Actually tons?

Alt: er Sooo?

D: Well, I miss a blog, apart from you know one reads it anyway?

Alt: But it's not about people reading it, it's about expunging yourself. But don't be silly anyway? How do you know?

D: No fingerprints

Alt: Hey man don't be so hard on yourself. Are you using the word sex in your blogs

D: Now you're being silly

Alt: Talking about being silly how long do you intend to keep up this wierd thing you're doing, you know, I'm your alter stuff and you talking in the 3rd

(Door Bangs)

David sits at Mac terminal

Writes: Met Mike from the BBC World Service Trust, really nice guy; had lunch with my former boss, saw one of the best multimedia pieces at the national gallery , got back to work station - must pick up masters student final essays, Gerard from BBC left message; and IM6 article in the works. Nah, must have bloggers block or somehting (DELETES everything) just pretend you didn't see all this.

Right article on IM6 coming up but first. . .