Video journalist

from Wikipedia, the free encyclopedia

A video journalist (also abbreviated VJ [ ˈviːdʒeɪ ]) combines the tasks of a journalist , sound engineer , cameraman and editor in one person. With the help of DV technology, he designs, turns and cuts film contributions on his own. The job title is not protected. Other common terms used by video journalists are "video reporter", "shoot-edit" (BBC term) and "personal digital producer", or PDP (BBC term) for short.

development

As early as the 1960s, there were so-called "self-shooting reporters" in the USA . Michael Rosenblum , who advises many television stations such as the BBC or Hessischer Rundfunk on the training of video journalists, compares the introduction of the video camera with that of the portable camera in the 1930s: film reels on plastic ( Leica company ) made the heavy film plates in cameras (and from tripods) independently. Digital video technology also frees television from heavy cameras, artificial light and studios and allows events to be documented in the middle of the action.

In the early 1990s, the private television broadcaster New York 1 relied exclusively on video journalists for the first time. In the mid-1990s, the first German-speaking private broadcasters such as Hamburg 1 , TeleZüri or TeleBärn followed suit . The Bayerische Rundfunk was the first public station, he sat from 1994 in small numbers video journalists.

In 2001 the British BBC switched all regional offices to video journalism under the guidance of Michael Rosenblum. In the same year, the German TV production company AZ Media , which, among other things, uses a so-called third-party broadcasting license to record broadcasting times on the RTL program space, began with the broad training of initially 14 video journalists. The company now runs the German Video Journalism School in Hanover. The current development is the advancement of the video journalist to the convergent video journalist, i.e. the merging of audio, video and live broadcasting on the Internet. In this respect, it remains exciting to see how this young job title - video journalist - is developing.

The Hessischer Rundfunk, which also hired video journalists for the first time in 2001, took them over to regular operations in 2004. Up until then he had trained 42 video journalists and between October 2003 and June 2004 he had broadcast around 840 contributions with a total of 2,500 minutes on HR television. While this implies that HR uses video journalists primarily in the news sector for short broadcasts that only last several minutes, AZ Media also has long television reports produced in this way.

In Austria, the broadcaster puls4 in particular works exclusively with video journalists. Initially, the station only started as pulsTV in Vienna; about 30 video journalists were trained by Ken Tiven and his company imc to start broadcasting. On the occasion of the nationwide start of puls4, another 30 video journalists were trained, this time by employees of the company Puls TV, some of whom later founded the Austrian company News on Video.

technology

Since video journalists combine the professional field of journalist with those of cameraman and editor, they work with a lot of technical equipment.

A wide variety of DV cameras are on the market. Professional video journalism usually uses so-called compact three-chip camcorders. They achieve a higher image quality than the single-chip cameras that are predominantly used in the private sector. Examples of cameras used are the Panasonic AG-DVX100 used by Hessischer Rundfunk or the Sony PD 150 used by AZ Media . With the HDV and AVCHD formats, video journalists have recently been given the opportunity to shoot and edit material that has a higher resolution than the television standard (standard definition). The range of HD (High Definition) formats that can be created with compact cameras is large. The biggest challenge for the VJ, who works alone, is now being able to rotate broadcast-ready images for the large HD flat-screen TVs. In the case of recordings from SD camcorders, the sharpness could not be defined so precisely so far, which is not the case with the current generation of HD camcorders.

Although Michael Rosenblum compares the step to video journalism with the independence of the photographer from the tripod, it is precisely this - ideally even a three-leg tripod - against shaky images, for better image quality that is strikingly important. (The widespread use of tripods can also be observed in practical work.) Since this contradicts the expected dynamic way of working, one-leg tripods are also used.

The majority of the established VJs work for documentary or reportage formats, so they usually shoot at a wide angle, by hand. The authentic accompaniment of the protagonists and the less complex logistics during the shooting compared to a larger team are top priority. VJs often come close to people because they are less noticeable with their small camera and at some point they almost “forget” that the situation is being recorded. But when it comes to dealing with video journalism, the question is always shaped: How much aesthetics does documentary film need, reportage? While some private channels are about the "EB team look" of VJs, some ARD and ZDF are willing to accept shaky images in case of doubt if the "material" is journalistic. There is definitely no uniform VJ look. Each broadcaster sets its own priorities in terms of audiovisual implementation. This could be clearly seen at various VJ festivals, such as in Weimar or Berlin.

The VJ guru Michael Rosenblum won his film prizes for reporting in American emergency rooms. Back then he turned everything out of his hand, and no scene was evident.

One problem for video journalists is the lighting. As a one-person team, they usually only have one video light attached to the camera and therefore often have to work with the light sources on site. The microphones built into the camera are usually unsuitable for recording the sound. In practice, professional external directional microphones or radio-operated clip-on microphones are often used.

For editing, a video journalist needs a powerful PC that can process the filmed material in digital form. Ten minutes of material corresponds to approximately 2 gigabytes of data. Final Cut for Apple computers and Avid Xpress for PC and Apple computers, and more recently Adobe Premiere, have established themselves among the editing programs .

education

At several universities of applied sciences, bachelor's degree programs as well as advanced training courses on everything to do with video journalism have been created. There are also training courses at film and television academies such as the Bavarian Television Academy and the ARD.ZDF medienakademie . The Munich Academy of Journalists offers full-time training of six months as well as a part-time course on digital video production in five modules . Video journalism seminars are an integral part of trainee training at public broadcasters.

Other academies offer specialist knowledge on the subject of video journalism as part of compact training courses lasting several days. Examples of this are the Berlin School of Journalism, the Munich Macromedia Academy and the Hamburg Academy for Journalism.

In Austria, the company News on Video offers courses, together with the University of Applied Sciences for Journalism in Vienna, a university of applied sciences course leading to the qualification as an academically certified video journalist. The St. Pölten University of Applied Sciences and the Vorarlberg University of Applied Sciences, together with the Board of Trustees for Journalism Training, run an extra-occupational course that leads to the qualification of "Academically Certified Video Journalist".

In addition, training can take place through an internship at a TV broadcaster in connection with school lessons at a suitable educational institution such as the Bavarian State Center for New Media.

Advantages and disadvantages of the video journalist

The introduction and spread of video journalism goes hand in hand with an extremely critical examination of the advantages and disadvantages, especially with regard to costs and quality.

A big advantage of the video journalist is first of all the cost-effective production. On the one hand, the costs for the technical equipment are lower than with a conventional camera team; on the other hand, the video journalist, as a one-person team, can in extreme cases dispense with the cameraman, sound assistant and editor, and possibly also the lighting technician. The cost of a video journalist production is the sum of personnel and technology savings only at 25% of a conventional shoot. These low costs not only offer potential savings for producers, but also enable the production of contributions that would be too costly with traditional teams, for example long-term documentaries with a large number of days of shooting. According to the ver.di union, freelance video journalists earn between around 200 and a maximum of 500 euros a day at public broadcasters - depending on the broadcaster and the amount of work involved in shooting. Compared to editorial work, the VJ allowance is around 50–60 euros per day for self-shooting or editing.

While the cost argument is also criticized for reasons of employment policy, there are also objections to the use of video journalists for qualitative reasons. Shaky images, too dark or too light images and incomprehensible sound are among the main allegations against video journalists with regard to the technical quality. However, the cause of these errors is seen not only in the technology, but also in the fact that video journalists work alone. Due to the high density of the work, the video journalist cannot keep an eye on the image, sound, light and protagonists at the same time. AZ Media, for example, decided to let two video journalists work in parallel for over half of the shoots. One is busy with the editorial work, the other with the camera and sound. This is to counter the problem of the lack of a second, controlling look in video journalistic work while shooting. However , it is also doubted whether video journalists can achieve the quality of professional editors on average , as is the possibility of researching thoroughly as well as writing.

Many authors unanimously cite one of the greatest advantages of being closer to the action and being able to act more freely in private situations. This enables more intimate documentation from the private sector, for example about the family life of transsexuals or Alzheimer's patients in old people's homes. The latter is the subject of Marion Kainz ' documentary " The day that disappeared in the handbag " , which was awarded the Adolf Grimme Prize in 2002 and shot with a DV camera as a one-person team. In addition, the low costs for a day of shooting also enable a more time-consuming discussion of a topic.

Another specific disadvantage of their work in practice is that video journalists indicate that they are often not perceived as real television compared to conventional three-man teams and are therefore taken less seriously by potential interview partners. Nowadays, however, these differences are increasingly secondary, since most interviewees already have experience talking in front of compact cameras.

Foreign reporting

Video journalists are particularly well-suited for assignments abroad, as they cause the broadcasters less travel expenses. The German international broadcaster DW-TV, for example, states that it saves up to 66% of travel costs when doing VJ missions. Thomas Donker from Rundfunk Berlin-Brandenburg also points out that reporters who own cameras often bring back stories from their own trips abroad.

In the event of current crises and disasters abroad, video journalists can enter a country at short notice and without a special customs certificate for the imported professional equipment (Carnet) and move around there flexibly. As an individual, it is also easier to get a place in rescue or military helicopters. During the 2004 tsunami disaster in Sri Lanka, video journalists from RTL, DW-TV and Hessischer Rundfunk were on site. Stefan Kaempf, VJ coordinator at DW-TV, also points out that reporters who were sent abroad could work more precisely with regard to the target audience than if third-party material were bought from agencies (such as Reuters). A video journalist who is flown in is, according to the Mitteldeutscher Rundfunk, more expensive than footage from news agencies.

The low weight of the VJ equipment is also seen as an advantage for moving around in the country itself or for lengthy reports abroad in areas that are difficult to access (without the possibility of charging batteries). The fact that video journalists can shoot with the small camera abroad unnoticed and covertly like tourists is also considered an advantage. The TV trainer Gregor Alexander Heussen comments critically: "Especially abroad, lone fighters with a camera are often used. This is justified with costs, but also because the authors can then easily enter, as a tourist, so to speak, and get out again quickly The way of working easily creates the condescending and friendly, tumbling zoo view of the Europeans on the others - an overemphasis on everything that seems strange, looks strange and creates a feeling of bizarre in the viewer. The speed then necessarily leads to a lack of understanding. "

Video journalists have been working in war reporting abroad since the 1990s. The BBC trainer Vivian Morgan describes her as a freelancer who would have shot at her own risk in regions such as the Balkans, Iraq and in various African civil wars without a broadcasting contract. Reports from the Chinese-occupied Tibet, about neglected orphans in Romania or the Kurdish regions of Turkey were also made. Morgan points out that working solo freelancers in crisis areas can be dangerous - especially since small VJ camcorders are easier to steal and sell than Betacam cameras. However, video journalists are often not really alone when they are deployed abroad: so-called stringers - i. H. Local journalists or researchers - help with the organization, translations and avoidance of dangerous situations.

swell

  1. ↑ a b c Roman Mischel: Definition, Past and Present , onlinejournalismus.de, February 9, 2005 (November 21, 2006)
  2. ↑ a b Michael Rosenblum: Vom Zen des Videojournalismus , in: Andre Zalbertus / Rosenblum, Michael: Videojournalismus . Uni Edition, 2003, ISBN 3-937151-10-9 , pp. 17-75
  3. ^ A b Andre Zalbertus: From the adventure of a revolution in Germany , in: Andre Zalbertus / Rosenblum, Michael: Videojournalismus . Uni Edition, 2003, ISBN 3-937151-10-9 , pp. 11-15
  4. ^ Website of the German School of Video Journalists
  5. ↑ Hessischer Rundfunk relies on video journalists , message from Hessischer Rundfunk dated September 8, 2004 (November 21, 2006)
  6. ↑ a b c d e Christian Angeli: How did a revolution work in the daily TV routine of an editorial manager? , in: Andre Zalbertus / Rosenblum, Michael: Videojournalismus . Uni Edition, 2003, ISBN 3-937151-10-9 , pp. 17-75
  7. ↑ a b c d Roman Mischel: What is a video journalist equipped with? , onlinejournalismus.de, February 9, 2005 (November 21, 2006)
  8. ↑ a b c Dushan Wegner: The video journalist . Mediabook-Verlag Reil, 2004, ISBN 3-932972-16-3
  9. ↑ [1]
  10. ↑ Archived copy ( Memento of the original from June 16, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.macromedia-firmenseminare.de
  11. ↑ [2]
  12. ↑ Education and training. Retrieved January 8, 2019 .
  13. ↑ a b c d e f g Roman Mischel: The discussion about video journalism , onlinejournalismus.de, February 9, 2005 (November 21, 2006) ( Part 1 , Part 2 )
  14. ↑ Guido Vogt: More little fee for video journalists, July 25, 2012 http://www.videojournalismus.lima-city.de/?p=601 "
  15. ↑ a b Thomas Majchrzak: Quality defects in video journalism What errors and features can be used to identify a VJ article? Experiences of a learning video journalist , term paper in the winter semester 2006/07 at the Institute for Journalism of the University of Dortmund, October 17, 2006. pdf ( Memento of the original from March 9, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.thomas-majchrzak.de
  16. ↑ Deutscher Journalisten-Verband: Entire board pleads for film production based on the division of labor , position paper of April 27, 2004 (November 21, 2006) ( Memento of the original of September 27, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.djv.de
  17. ↑ Trippe, Christian F. (2007): Final report: Pilot project video journalists at DW-TV. Unpublished study by Deutsche Welle, Berlin, quoted from: Vogt, Guido (2012) Video journalism: functionality - history - empiricism, p. 215
  18. ↑ Berendes, Bonnie (2011): Video journalism - an enrichment for television, Munich, p. 45
  19. ↑ Kaempf, Stefan (2005): VJs in global use. In: Central advanced training for program staff at the broadcasters ARD and ZDF (ZFP) (2005): What can video journalists (not) achieve? Unpublished minutes of the Videojournalismus Roundtable 2005. Hannover, pp. 13-16, quoted from. Vogt, Guido (2012) Video journalism: functionality - history - empiricism, Neu Isenburg, p. 215
  20. ^ Sehl, Annika: Quality management in video journalism: A qualitative study by the ARD institutions, VS Verlag für Sozialwissenschaften, Heidelberg 2008, p. 163ff
  21. ↑ Hessel, Alexander (2005): Video journalism in the ARD. A case study analysis on journalistic quality and media economy. Unpublished diploma thesis at the University of Leipzig, p. 164 quoted from: Vogt, Guido (2012) Video journalism: functionality - history - empiricism, Neu Isenburg, p. 143
  22. ^ Wittke, Frank (2000): Video journalists - a new professional field in Germany. An investigation into the requirements, everyday life, training and future of video journalists. Unpublished diploma thesis at the University of Dortmund, p. 38ff. quoted from: Vogt, Guido (2012) Video journalism: functionality - history - empiricism, p. 143
  23. ↑ Vogt, Guido (2012) Video Journalism: Functionality - History - Empiricism, Neu Isenburg, p. 171
  24. ^ Morgan, Vivian (2007): Practicing Videojournalism. London, New York, pp. 60ff

literature

  • Bonnie Berendes: Video journalism - an asset to television? Analysis of a modern professional field based on practical examples. Academic Publishing Association, Munich 2011. ISBN 978-3869240725
  • Christian Jakubetz: Crossmedia. UVK, Konstanz 2008, ISBN 978-3-86764-044-2
  • Gerhard Schult / Axel Buchholz (ed.): TV journalism. A Manual for Education and Practice. With video journalism. Journalistische Praxis series, 8th edition Berlin (Econ) 2011. Website for the book with further information on the profession
  • Guido Vogt: Video journalism: functionality - history - empiricism . MDD publishing house. Neu Isenburg 2012, ISBN 978-3-938207-14-7
  • Morgan, Vivian: Practicing Videojournalism. London, New York, ISBN 978-0415386661
  • Sehl, Annika: Quality management in video journalism: A qualitative study by the ARD institutions, VS Verlag für Sozialwissenschaften, Heidelberg 2008, ISBN 978-3835070301
  • Ruedi Studer: Video journalists - all-rounders for television? The video journalists on private television in Switzerland . gazette Medientexte, 2004, ISBN 3-033-00107-6
  • Dushan Wegner: The video journalist . Mediabook-Verlag Reil, 2004, ISBN 3-932972-16-3
  • Andre Zalbertus / Rosenblum, Michael: Video journalism . Uni Edition, 2003, ISBN 3-937151-10-9