Vijo= Video Journalism…and Briggs says something that particularly stood out to me in his chapter on the subject.
“Visual journalism is about telling compelling stories that connect an audience with subjects, people, and issues. One of the most powerful types of visual journalism, video storytelling, is surprisingly easy to learn.”
The first connection I made to this idea in my mind, was that of a traditional journalist’s goal to establish a human connection when crafting a story for an audience.
As a student studying news editorial, I have focused heavily on the print and online media platforms throughout my undergraduate career, however; the end goal has consistently remained the same: HOW ARE YOU CONNECTING WITH YOUR AUDIENCE?
Video seems to be a great option, in many cases, to aid or even substitute, a story to achieve this goal.
What I found helpful in this chapter was the reiteration that video can be used to both supplement or SUBSTITUTE a story when appropriate.
A question I might ask as a follow-up to this specific topic is:
Though it is a versatile form of journalism, can any journalist actually be a VJ?
What about quality of footage? How should journalists navigate this medium?
The second connection I made with this chapter is the use of the “storyboarding” technique in working with video footage.
On one of my recent projects for The Baylor Lariat, I traveled to different Halloween stores around Waco to interview various employees about “How far is too far when it comes to Halloween costumes or the Halloween season in general?”
Throughout my festive adventure, I took video footage of me walking in and out of the different stores, moving mechanical monsters, etc.
I did this because, in my mind, I was already piecing together a creative video story to accompany my written article as a multimedia component.
I used a derivative of the “storyboarding” technique described by Briggs. Because I was sort of functioning as a mobile journalist (Mojo) on this project, I didn’t have time to physically “DRAW OUT” the boxes.
Instead, I envisioned the sequences of the shots in my mind as I traveled from place to place and then shot that footage on the spot.
1. I identified the one idea I wanted to get across to my viewers (the focus of my story)
2. I organized, in linear form, how capturing certain “spooky” elements within the different stores could work together in a certain sequence.
3. At the end, I rearranged the pieces I captured throughout the day into their most effective form.
Another question I might pose is this:
If a journalist is “on-the-go,” how could he/she more effectively capture highlight/creative clips? Are there any specific techniques to maximize on-the-spot captures?