David Dunkley Gyimah é um videojornalista que nos mostra aqui o que é que está a mudar no jornalismo multimédia e em especial no video jornalismo. A ler com atenção. Em baixo fica o integral do seu “Manifesto do VideoJornalista”.
“O que é o Multimédia e porque é que nos devemos importar?“ e “Perceber que existe uma mudança no paradigma“ são dois pontos essenciais nesta pequena dissertação. Um dos documentos mais interessantes que já encontrei sobre este assunto.
David Dunkley Gyimah is a videojournalist that shows us here what is changing in multimedia journalism and specially in videojournalism. Below is his “Video Journalists Manifesto”.
WHATS’ NEVER BEEN DONE AWAITS TO BE DONE
1. I am a video journalist: I crave creativity, loathe that which is predictable. It is my job to look for truth.
2. I can move alone in any terrain. Experience is my blanket. Swarming (groups of Vjs coming together) increases my range.
3. I will be told by those who believe they know best that it can’t be done. I must accept that they don’t understand my job, my limitations. Nothing is impossible.
4. When they look at a blank piece of paper they see nothing, when I look at a blank canvas, I see the orgins of motion graphics, film and information coming together.
5. I start a dialogue. My packages can be open ended, begging further questions and dialogue. My work is never done. Each thread leads into a new tapestry of ideas and dialogue, which I relish. Herein lies the possibilities of deep video linking
6. My greastest allies are the hundreds of contacts I am yet to meet. I am surrounded by ideas, people, who have a story to share. And I often shoot-on-the-fly, unrehearsed; news in unpredictable.
7. Failure is an option. I must be allowed to fail. I do not court it, but is is a precondition of creativity. I am a researcher with a camera, experimenting with the template which has driven news production. I write my story as it unfolds and sometimes I know, just like a newspaper journalist, I may have to spike my story. Visually it just didn’t work.
8. I am lean. I carry no excess weight or baggage. I am a specialist. I kill only that which I can eat, lessening the load and burden which others artificially absorb. There are some shots such as court and “big game” reportage where I may be unsuitable. There are risks as a solo journalist, but discretion is on my side.
9. My job is never done. My camera is my third eye. My camera goes where I go.
10. Like an actor I crave new parts, Like a footballer I make endless runs into the goal mouth searching for scoring opportinities. My work rate is phenomenal. But I’m trained to undershoot so my work load is made lighter.
11. I am a child of a bygone era. There were others before me. The first film makers were VJs [ Victorian VJs] I respect and build on their skills. My fall back is history, convention; my milestone is the future.
12. I am a designer, an editior, a producer, a director, a reporter, photographer an designer. I am a jack of all trades and a master of them.
13. I represent a new discourse in story telling and journalism blurring the boundaries between technologist and artisan, the net and TV, a writer and visual blogger.
14. I hear pictures, see sound, absorb words and can visualise music -all of which makes me a more attuned VJ.
15. Mi6 Video journalism allows me to strip a story bare: the podcast, blog, article, video, and multimedia
16. The tools of my trade: a powerful laptop, editing software, rugged rucksack, collapsable tripod, High Definition DV Cam, water, pen, firewire cable, external 200 g hard drive.
17. My software includes: Final Cut Studio, Photoshop, Dreamweaver, Photoshop, In design, After Effects and Flash
18. It’s all in the story. My job is to craft it visually.
19. The Net – the most powerful broadcast media-in-waiting is my natural home.
20. The benefits of video journalism are many; but the ink definning video journalism is not dry. It is many things to all people. To me its is an aggressive, sometimes stealth way of shooting where the results of my labour will outdo those of bigger crew.
21. The work of Claudio Von Planta, Scott Rensberger, Rosenblum, Naka Nathaniel, Ruud – just some of the doyens of videojournalism illustrates the aforementioned point.
22. This manifesto is not complete
23. Belatedly added. Videojournalism is but another thread sowing the tapestry of our many stories, but what’s next? What will come to define in our contracted timeline the new discourse and new tools. Qu how might videojournalism evolve?