Tag Archives: multimedia journalist

Headlines and Deadlines: Phrases that should be banned in the newsroom

Reflecting on the online dissemination of ‘the Internet Manifesto’ by a group of German journalists and bloggers last week, Alison Gow suggests five phrases currently heard in most newsrooms that ‘all the manifesto pledges in the world aren’t going to solve’.

Explained in full – and in context – in Alison’s post, the phrases are:

  1. “I’m too busy…”
  2. “I don’t know how to use/make that…”
  3. “No one asked me…”
  4. “It’s only the website.”
  5. “Digital doesn’t make money.” (or “Print is profitable.” when questioning the value of a newspaper’s website)

“I agree that updating your work blog is unlikely to turn around the financial black hole our industry is attempting to extract itself from at the moment (…) [But] if you’re working as a multimedia journalist you have the opportunity to be a real pioneer in the art of online storytelling, audience engagement, and new ways of sourcing, sharing and developing information,” writes Gow.

Full post at this link…

Adam Westbrook: 6×6 tips for freelance journalists

During the last fortnight, multimedia journalist Adam Westbrook has published six guides for freelance journalists – with a strong emphasis on practical steps and digital tools available for freelancing.

You can read the full series at this link or jump to the individual posts listed below:

Adam Westbrook: 6×6 video for freelance journalists

This is the second in a series of six blog posts by Adam Westbrook, each with six tips for the next generation of freelance multimedia journalists, republished here with permission.

Follow the series at this link or visit Adam’s blog.

Video
Video has by far and away become the most popular medium for the multimedia journalist – to the extent it almost seems many won’t consider it a truly multimedia project unless it’s got a bit of video in it. The thing is, video is a tricky medium and must be treated differently in the world of online journalism.

1) Video doesn’t need to be expensive
Don’t be fooled into thinking you can’t do video just because you haven’t got any cash. Sure, if you want to go right to the top range, say a Sony EX3, Final Cut Pro and After Effects, yes, it’s going to set you back about £3,000 ($5,000). But high quality can be achieved on lower budgets.

Check out my article on how I put together an entire film making kit for £500 ($800).

2) Shoot for the edit
If there’s one piece of advice for multimedia journalists making films – it comes from Harris Watts, in a book he published 20 years ago. In ‘Directing on Camera’ he describes exactly what shooting footage is:

“Shooting is collecting pictures and sound for editing (…) so when you shoot, shoot for editing. Take your shots in a way that keeps your options open.”

Filming with the final piece firmly in mind will keep your shooting focused and short. So when you start filming, start looking for close ups and sequences. The latter is the hardest: an action which tells your story, told over two or more shots.

Sequences are vital to storytelling and must be thought through.

A simple sequence: shot 1, soldiers feet walking from behind
A simple sequence: shot 1, soldiers feet walking from behind
Then to a wide shot of the same action...
Then to a wide shot of the same action…
...and then to a wide reverse showing more detail
…and then to a wide reverse showing more detail

3) Master depth of field
In online video, close-ups matter. The most effective way to hold close-ups – especially of a person – is to master depth of field. Put simply the depth of field how much of your shot in front of and behind your subject is kept in focus. It is controlled by the aperture on your camera – so you’ll need a camera with a manual iris setting.

Your aim – especially with close-ups – is to have your subject in clear focus, and everything behind them blurred: Alexandra Garcia does it very well in her Washington Post In-Scene series. (HT: Innovative Interactivity)

Screenshot: Innovative InteractivityScreenshot: Innovative Interactivity

Here’s a quick guide to getting to grips with depth of field:

  1. you need a good distance between the camera and subject
  2. a good distance between the subject and the background
  3. and a low f-stop on your iris – around f2.8, depending on how much light there is in your scene. A short focal length does this too.
  4. You may need to zoom in on your subject from a distance

4) Never wallpaper
If there was ever an example of the phrase ‘easier said than done’ this would be it. It’s a simple tip on first read: make sure every shot in your film is there for a reason. But with pressures of time or bad planning you can often find yourself ‘wallpapering’ shots just to fill a gap.

In his excellent book The Television News Handbook Vin Ray says following this rule will help you out no end:

“One simple rule will dramatically improve your television packaging: never use a shot – any shot – as wallpaper’. Never just write across pictures as though they weren’t there, leaving the viewer wondering what they’re looking at. Never ever.”

5) Look for the detail and the telling shot
Broadcast journalists are taught to look for the ‘telling shot’, and more often than not make it the first image. If your story is about a fire at a school, the first thing the audience need to see is the school on fire. If it’s about a woman with cancer, we must see her in shot immediately.

But the telling shot extends further: you can enhance your storytelling by looking for little details which really bring your story to life.

Vin Ray says looking for the little details are what set great camera operators apart from the rest:

“Small details make a big difference. Nervous hands; pictures on a mantelpiece; someone whispering into an ear; a hand clutching a toy; details of a life.”

I’m midway through shooting a short documentary about a former prisoner turned lawyer. One of the first things I noticed when I met him was a copy of the Shawshank Redemption on his coffee table – a great little vignette to help understand the character.

6) Break the rules
The worst thing a multimedia journalist can do when producing video for the web is to replicate television – unless that’s your commission of course. TV is full of rules and formulas, all designed to hide edits, look good to the eye, and sometimes deceive. Fact is, online video journalism provides the chance to escape all that.

Sure it must look good, but be prepared to experiment – you’ll be amazed what people will put up with online:

  • Cutaways are often used to cover over edits in interviews; why not be honest and use a simple flash-dissolve instead. Your audience deserves to know where you’ve edited, right?
  • TV packages can’t operate without being leaden with voice over, but your online films don’t need to be.
  • Piece to cameras don’t need to be woodenly delivered with the camera on a tripod.

The final word…
Here’s VJ pioneer David Dunkley-Gyimah speaking at this year’s SxSW event in the US:

When it comes to the net, there is no code yet as I believe that is set in stone (…) we’ve all been taking TV’s language and applying that and it hasn’t quite worked. Video journalism needs a more cinematic, heightened visual base.”

10,000 Words: Being an unemployed journalist – the best thing that ever happened

Inspiring stuff from multimedia journalist Mark S. Luckie, who was made redundant in December last year.

“I thought because of my rare technical skills and demonstrated passion for the job that there was no way I would ever be fired, even though I saw the mass layoffs that were happening all around me. It was a further blow to my ego when I realized that months later I was still unemployed along with thousands of other journalists,” writes Luckie.

But, he says, the downtime has allowed him to hone his craft and ‘share my passion with others’.

“The time away from journalism has helped me find my inspiration, to remember why I am a multimedia journalist in the first place,” he says.

Full post at this link…

#FollowJourn – @adamwestbrook/multimedia journalist

#FollowJourn: Adam Westbrook

Who? Multimedia journalist, blogger and filmmaker.

What? He currently works for Bauer Media as a broadcast journalist.

Where? @adamwestbrook or his excellent blog on broadcasting and journalism.

Contact? You can leave a comment for him on his blog at this link.

Just as we like to supply you with fresh and innovative tips every day, we’re recommending journalists to follow online too. They might be from any sector of the industry: please send suggestions (you can nominate yourself) to judith or laura at journalism.co.uk; or to @journalismnews.

Alex Wood: What does the #IranElection Twitter trend tell us?

Use of Twitter by mainstream media outlets has been much discussed in regards to recent reportage from Iran. Multimedia journalist Alex Wood provides a blog post with some good links and thoughts about hashtags and information spread. Particularly interesting is this part:

“[D]ig a little deeper into the statistics, and you find that over 50 per cent of tweets about IranElection are not first hand information. Twitter allows users to repeat other people’s tweets and send them on to their friends, who can then go on and repeat this to their friends. There is no control mechanism for fact or fiction and misinformation can spread quickly, especially in times of conflict.”

Full post at this link…

Tips and thoughts for journalists from Bloomberg’s former multimedia editor

Last week (Thursday May 28) Bloomberg’s former multimedia editor, Abhik Sen, spoke to journalism students at City University on a range of topics:

MPs’ expenses:
Revelations about MPs’ expenses would not have had as much impact if the story had been broken online, the former editor of multimedia at Bloomberg told students. “There are still some stories which work much better in traditional formats,” he said. “The MPs’ expenses story could have been broken in any format but it would not have had the same impact if it hadn’t been print.”

“The resulting chaos in Westminster probably would not have happened if it had broken on a blog or website. That medium just doesn’t have the same impact as the front page of a newspaper does.”

Sen added that the gradual ‘drip feed’ of information in the daily papers and sustained ‘wall-to-wall coverage’ in the Daily Telegraph allowed the story to build a momentum that would not have been possible in the rolling news environment of the web.

Where multimedia works best
He emphasised that online journalism continued to surpass traditional formats in  providing ‘more detailed, more thoughtful’ coverage and a ‘360 degree view’ of any story.

“For the swine flu story, for example, you get the headlines in the newspapers and the footage on the television channels, but for a comprehensive view you have to go online and look at videos, stories, first person pieces, interactive graphics, maps,” he said. “That rule holds true for pretty much every big story, from Obama to climate change.”

“TV and newspapers are the entry point for the news cycle,” he added. “Only people who are particularly interested in a story will then go digging for more stuff online. But that’s when they will expect comprehensive, meaty content.

“Then, multimedia journalists have to take the game to the next level: beyond the headline, beyond the immediate soundbite.”

Sen’s tips for journalists
“In tomorrow’s world, which is pretty much today’s world, there is no media organisation which is not thinking multiplatform,” the former multimedia editor at Bloomberg. “Everyone will have to be a multimedia journalist of some sort. The earlier you get familiar with the grammar of multimedia, the easier and better it will be.”

  • Planning is important. “Most bad multimedia pieces flounder because not enough thought has been put into what you are trying to communicate,” he warned. “Think about how your story could best be told and what sort of interactivity you want to offer.”
  • Get creative. The challenge for multimedia journalists covering diary stories, such as the G20 protests, is to find a way of reporting that is “original, refreshing, different from the newspapers and television, and yet complimentary,” said Sen. “You must build on what others have done, but also do what others cannot do.”
  • Think flavour, not just facts. “In a multimedia piece, you need to convey not just who was there and what happened, but what was it really like?” he said. “You need to capture things that make the piece alive. They might look small at production stage, but become really interesting and useful at the editing table.”
  • Less is more. “Five minutes is an eternity in news time,” he warned. “Most multimedia pieces won’t ever run for more than a few minutes.”
  • Always shoot action and emotion. “It doesn’t need to be someone fighting a war, but you need mobility or some dynamic element,” he advised. “It might be someone’s eyes floating from left to right, clinking glasses, natural sunlight.”
  • Develop skills beyond conventional journalism, or work with somebody who has. “A graphic designer is critical to a multimedia project,” said Sen. “It’s up to them to bring all the elements together and present them in a way that can either make or break a multimedia piece.”
  • Keep the big picture in mind. Remember that neither audio or visual will ever work alone in a final multimedia production. “They will be next to text, or on top of a picture, so always have an idea of the final product in mind,” said Sen. “Then you don’t always have to face the dilemma of dropping or cutting to fit.”
  • But if in doubt: “Shoot first, make up your mind later,” he advised.

Sen, who spent more than a decade as a television and newspaper journalist before joining Bloomberg, added that these skills should be developed in addition to, not at the expense of, the traditional journalist’s toolkit. “The nuts and bolts remain the same. Good journalism, solid reporting, news judgement and good writing skills are as important online as off,” he said.

Sen’s favourite multimedia packages:

  • Economy Tracker by CNN: “Somebody has done the hard work of crunching numbers and then somebody has made it into a really visual, interesting piece of work,” said Sen. “It’s a good example of telling a big story simply but effectively”.

Related link:

Alison Battisby’s report on her blog: ‘Everyone will be a multimedia journalist,’ says ex-Bloomberg editor.

Lara King is a freelance journalist and blogs on the media at www.lara-king.co.uk.

Kate Adie on 20 years since Tiananmen Square

Journalists, photographers and filmmakers came together at the Frontline Club last night for a special screening of Kate Adie’s latest documentary.

Shot entirely on tapeless cameras, the film retraces Kate’s footsteps of reporting from the protests at Tiananmen Square in 1989.

Returning to China with what she describes as ‘an open mind’, Adie found herself ‘at the mercy of relentless surveillence by the secret police’.

Adie found fame back in 1989 when she was one of the few journalists reporting from the middle of the action, amongst gunfire and dead bodies. She told the audience that she made a pact with her cameraman to stay for the sake of the story, despite the odds of them surviving being stacked against them.

This time round Kate and her crew were denied journalist visas, forcing them to effectively go undercover, under the false pretence of being tourists.

Despite being followed by numerous secret police cars throughout the filming process, she said people were ‘desperate to talk and tell their story of the events of 1989’.

At the Q&A session people were quick to ask Adie her thoughts on the state of journalism:

One journalist asked: “Do you think the quality of journalism has declined over the past 20 years, with regard to the reporting on Zimbabwe and Sri Lanka?”

Adie replied:

“Journalists have a duty to report and inform the world, the fact that people come to meetings like these here and care about global issues, tells me journalism is alive and well.”

I spoke to Kate after the screening, and asked for her reaction to the news that China has blocked a number of internet services this week:

In the UK, you can watch ‘Kate Revisits Tianamen Square’ on BBC2, tonight (June 3) at 9pm.

Alex Wood is a multimedia journalist based in London.