Jamie Irrepressibles

Posted by & filed under Interviews.

My article originally published on Run Riot

Jamie McDermott is late for his interview because he’s just confirmed a wedding booking. Whereas with other bands this largely involves covering The Commitments to a room that’s too busy getting drunk to give a toss, for Jamie it might just be the highlight of his career. At the end of the month The Irrepressibles will play the first gay wedding in the UK.
“I think it’s going be one of most beautiful evenings of my life, it will be incredible,” says Jamie,“We’re going to be playing Two Men In Love, as they get married.”

For two albums and three recent EPs his band have flitted between musical styles like a cultured yet populist iPod on permanent shuffle but one thing has remained constant: enduring love and the belief that everyone has a right to it. It feels odd that in the 21st century that this is still an issue. I ask Jamie whether he thinks we have gone backwards rather than forwards in recent years, particularly when we look at arcane laws that Russia and other countries enforce.

“We were over in Russia recently and were able to see the situation first hand. In many ways they are far freer than under the communist regime. Really now the problem is that it’s ruled by a religious dictator who got into his position via his relationship with the Russian orthodox church. In terms of ex-colonial countries, there’s very much a legacy from the British missionaries, it’s still very active and that’s not going to be affected by Western politics. And of course, there is much more of a systematic hard line in the way they deliver the penalty.”

The Irrepressibles performed a free concert in Gorky Park, Moscow last year. As a band with openly gay members who unashamedly confront this with their music, this was an extremely brave decision and not one that Jamie took lightly.

“It was terrifying, I cried on the train on the way there, more for the band than myself because they were so steady and determined to do it. And a lot of them are straight, including the two drummers at the back of the band but they were so behind it. So much so actually, that when the Russian technical staff refused to play our video, one of the drummers threw his sticks at them!”

This wasn’t a video that reached Frankie Goes To Hollywood levels of Bacchanalian excess, it featured gay male couples kissing. Controversial in Russia perhaps, but it is also an idea so “abhorrent” that it frequently gets their beautiful, honest and affectionate videos banned on social networks. Jamie’s response isn’t to tone this down, it’s to coerce more couples into kissing, and filming that. The aforementioned video for Two Men In Love features a crescendo of canoodling couples and last week the video of their forthcoming release The Edge of Now saw their fans recreating the “restricted” Arrow video of two men wrestling with their emotions, and each other. I ask Jamie about his relationship with his audience.

“In some respects I’m not really a traditional pop star in the way that I don’t really have much of a guard. I’ve performed in different garbs and have taken to different ways of performing. It’s quite funny actually, I met some guys at one point and they thought I’d be really haughty and arrogant and I guess that’s sometimes the way we appear on stage but we don’t have that attitude really. The important thing for me is trying to say something about a time that is honest. It’s about telling a story about something that’s real when it communicates properly that’s a wonderful thing. It’s always really scary when I bring out new work because I worry that others might not like it. Making videos about a group of people saying something is a really wonderful thing.”

Nude is the name of The Irrepressibles last album and the recent three EPs were also Nude variants. Nude:Viscera the most recent EP saw the band (pun intended) stripped down to the bare essentials of guitar and light orchestration. It’s hugely impactful – nothing is dressed up or obscured, just a raw soaring vocal coming straight from the heart, as nature intended.

“Nude originally was an album that I made before I was signed,” says Jamie “the idea was to perform the songs on a guitar in one go. Then when we looked at mixing the album with The Irrepressibles I wanted to make something that was broader… that also represented the time that the songs were written in. When I finished the record there were songs that didn’t fit the main record. They weren’t any less songs but they were too raw and mine. These songs needed to be released in some way so the idea was to do a second part, but they didn’t fit on one record. So the idea was to inhabit three different worlds with three different EPs.”

The Irrepressibles performance at Village Underground will be stripped down, Jamie explains the set up in more detail.

“The set-up is a five piece rock band, with a grunge exotica feel. We’ve got piano, viola, cello and guitar – it’s a really wonderful sound. It’s quite exciting for me because we usually have something that’s very set or electronic, it’s good to have movement. The musicians are wonderful. There’s no chance of a big spectacle with this, it’s about the energy of playing punchy loud rock music.”

We wonder if Jamie will be stage-diving?

“I don’t think so,” he says with a little laugh.

theirrepressibles.com
The Irrepressibles play Nude:Viscera at Village Underground on 26th March, tickets here

Interzone-600

Posted by & filed under Interviews.

Originally published on Run Riot

On Friday (7 Feb 2014) an undisclosed part of London will slide into the realms of Interzone. You’re invited to join the “misfits, terrorists, traffickers of delusion, tribes, deviants, delinquents, corrupt officials, Beatniks, Mugwumps, government agents, re-occurring dream characters, lady boys, drag kings, cannibals, merchants of sex, time travellers, practitioners of the Dark Arts, people who aren’t allowed on planes, gypsies, Egyptian Gods, Arabian royalty, Sufi dervishes and Moroccan hawkers” for a night inside the lucid and fully realised mind of William S Burroughs. This promenade performance and party of excess will mark what would be the writer’s 100th birthday.

Burroughs merged with the infinite in 1997 but his literary legacy and cultural prominence still stands firm and proud. As one of key inquisitors of the Beat movement, Old Bull Lee (a pseudonym that he and his peers used) presided over the Beatniks with a bloodshot but steel-eyed stare. He was both brutally honest about his “junk” dependency yet took fantastical cut up creative kicks. Interzone was the netherworld which he conjured and inhabited – partly 1950s Tangier in Morocco and partly the world that he slipped into when he was dreaming or hallucinating.

Guerilla Zoo have incited Interzone before, the immersive performance with music, film and art thrown together to create an exploded Burroughs bubble, that has the blessing of his estate. After listening to Burroughs’ distinctive hardboiled drawl in spoken word readings all morning, I interviewed James Elphick. Apologies if some of Bull Lee has worked its way into the interrogation, it’s a habit that’s near impossible to kick…

BonnieMakesPictures4

Dan Davies: People tend to come to Burroughs through the back channels how did you become acquainted with him?

James Elphick: My first taste of Burroughs was reading Naked Lunch. I’d never read anything quite like it before; a nightmarish world of lucid precision taking the lurid and profane with a sprinkling of dark comedy. A bustling, whirling, unwinding, universe of previously un-uttered perversions and stark naked realities hit me off centre, knocked my thoughts off their feet and into uncharted territories. I explored his Naropa Lectures and the many mind machines he mentioned (such as the Dreamachine) and found a man who somehow through all of the events his life brought, really knew what was going on.

Dan Davies: What first appealed to you about the way he flipped the script?

James Elphick: Burroughs saw the world with a highly educated un-nerving lucidity. His experiences across his long life had many highs and lows, despite this he remained on top of his game and even into his last years was highly productive and creative. His books, his collaborations (especially with Brion Gysin), his artworks, his methods, really broke down the walls of freedom and expression and manifested new ways of creating.

Dan Davies: Why do you think he was such a supreme hit for people yet remained a permanent fix through time and space?

James Elphick: Burroughs’ writings are a right of passage for many younger readers. He’s talent for routing out the relevant and making it stand strong with the parallels of today, which make his work extremely relevant now. He touched on subjects way back that have only now been making headlines such as Julian Assange’s Wikileaks and Edward Snowden’s NSA revelations.

He was very well read, looked deep into historical, religious, political references, current press media and trends, and his own minds eye.  He was informed by a lifetime of dialogue with provocative and penetrating thinkers. Often these interactions sparked new directions in writing, film, sound, and visual art. Notable collaborators include Antony Balch, Ian Sommerville, Jack Kerouac, Allen Ginsberg, Keith Haring, Robert Wilson, Tom Waits, Kurt Cobain, John Giorno and Terry Southern. His works have inspired countless people especially musicians including, David Bowie, The Beatles, Thurston Moore and The Klaxons, to name but a few.

Dan Davies: You’ve ventured to Interzone before, what’s happening? What gives?  

James Elphick: Here’s a quote - ”Hipsters with smooth copper-colored faces lounge in doorways twisting shrunk heads on gold chains, their faces blank with an insect’s unseeing calm. Behind them, through open doors, tables and booths and bars, and kitchens and baths, copulating couples on rows of brass beds, crisscross of a thousand hammocks, junkies tying up for a shot, opium smokers, hashish smokers, people eating talking bathing back into a haze of smoke and steam. The City is visited by epidemics of violence, and the untended dead are eaten by vultures in the streets… A place where the unknown past and the emergent future meet in a vibrating soundless hum. Larval entities waiting for a Live One .” - Edited extract from Naked Lunch.

Interzone - Polstar Photography (4)

Burroughs’ stateless city of Interzone is a vast visual realm of inspiration. It was a perfect opportunity to bring something very special together. In 2008 Guerrilla Zoo did our previousInterzone event, which was picked up by the papers and was a great success. I’m not kidding, it has been cited by many as “best night out in London ever. Ever!” So with this being Burroughs’ centenary year I thought for one night only, to open the doors to the city once more. This is an experiential event on many levels but also a party to celebrate Burroughs 100th birthday. Buy your ticket to travel. Pack your Passport. Step into a microcosm of all the world by moonlight.

Dan Davies: How do you get your audience to loosen up and lose themselves and their minds?

James Elphick: They have free reign to move through the space, they can engage and discover moments to get lost in or they can be passive observers, it depends how far down the rabbit hole they are willing to go.

Dan Davies: Will Old Bull Lee be your guide through Interzone or is it every man woman and child for themselves in there?

 

James Elphick: There will be some recognisable characters from his books to engage with, but Interzone is for you to explore, there are no guides here, it is all about your own self discovery.

Interzone - Polstar Photography (5)

Dan Davies: How do you induce the atmosphere of Interzone?

James Elphick: One example would be working with Gorilla Perfume, who are providing special scents, which is a powerful play on the audience’s subconscious to pick up on.  One in particular is a sort of paranoid inducing smell called ‘The Bug‘ for some of the more tense scenarios.

Dan Davies: Burroughs work can often be filmic in written delivery and dialogue yet impossible to fully realise off the page how do you approach this contradiction?

James Elphick: I’m not adapting word for word like a play, Interzone is an interpretation, inspired by the many universes of Burroughs writings. Much like how David Cronenberg’s adaptation ofNaked Lunch was part novel, part biographical, part Cronenbergian dreamworld!

Dan Davies: What do you think interested the executors of his estate in your general demeanour?

James Elphick: I want to introduce Burroughs works to a new generation and bring his legacy to new eyes. Interzone is just one way of connecting people to hear about him and to encourage them to pick up one of his brilliant books. I also co run www.burroughs100.com, which is the official Burroughs website, full of articles, exclusive features, rare material and listings for many events happening around the world.

Dan Davies: Can you give us an insight into the musical accompaniment for the evening?

James Elphick: We have an eclectic varied line up of genres from Sufi trance inducing sounds, jazz music of the era, to cut-up inspired performances, busking musicians, to underground dance music to get the party going.

Dan Davies: Do you have any words of advice for young people?

James Elphick: I think Burroughs put’s it best in this Youtube clip:

 

Interzone
Secret Location

07 Feb 2014
20:00 – 03:00
Buy your ticket to travel here

Bug
Life in Lake Vostok on Webflow

Posted by & filed under Tech Review, Tech Tuesday.

This browser based application which allows you to visually design responsive websites came out of Beta in August this year. Instead of having to know HTML or rely on a desktop based webdesign software such as Dreamweaver, Webflow allows you to drag and drop the main elements of a website into a canvas area and then preview the website in different formats, such as tablet and smartphone or portrait and landscapes. This means that no matter what device you’re viewing on you can customize the appearance quickly and easily.

In practice

I made two websites to test how easy this application was to use. Firstly, I very quickly knocked together a website ahead of an editorial meeting for a fanzine I’m working on. I based this site on a pre-designed template which already had a clear structure and just customized the text within the containers. Secondly I started to reproduce a web story from scratch, which I had previously created using Scrollkit, the Webflow version can be found here. The latter required more adaption and an understanding of how Webflow worked and although support videos exist on how to quickly put together storefront style websites, there’s no guidance on how to create scrolling news stories. Having said this once I’d got my head round the various web containers, margins and padding it achieved a much clearer and legible mobile site.
Life in Lake Vostok on Webflow

How it helps you

The key really here is speed, to be able to bring together some visual ideas and even put together a microsite quickly is really exciting. And for that to be readable across devices without having to constantly test the website is brilliant. Particularly when designing scrolling news stories, it’s all too easy to get the measurements wrong and lose half your audience. Also whilst you still need to understand the principles of webdesign, you no longer have to write badly formed HTML. Once you’ve published the website, it can be outputted as easy to install zip folders with perfect HTML and CSS.

Drawbacks

As with Scrollkit (which I also wrote about on a previous Tech Tuesday), this application comes unstuck when you start embedding multimedia into it. Compared to Scrollkit the embed is much easier, although you can’t preview an embed that isn’t iframe based without publishing. The hardest thing to embed was YouTube video, using the video embed it created it within a small window on the canvas. As an iframe embed it previewed fine then in the final viewing shot into the middle of the page. I could probably work out how to stop this with more time but it is frustrating. Also there’s no CMS (content management system) powering these websites, so creating something that can be easily added to is problematic.

Summary

Another incredibly flexible web-based application which gives desktop software a run for its money, but needs a bit more time to mature.

Rating


Tim Burgess

Posted by & filed under Gigs, Manchester.

Tim Burgess with special guests Lambchop, 23rd June, Barbican.

The Charlatans were once billed as the world’s longest surviving rock band. This may have been tied up in record company rhetoric and the tragic circumstances that surrounded the making of Tellin’ Stories but there were other reasons for their longevity.

Tim Burgess

Feeding into the band was a pudding bowl of musical influences. Although their haircuts and swagger cashed in on Madchester, they were essentially outside the city. As Burgess’ autobiography affectionately details (new updated edition out July 4th) they stirred in elements of The Byrds and The Meters from the very beginning. Additional remixes by the fledgling Chemical Brothers created a unique blend.

As the band rose, and Burgess broadened his lyrical palate, bits of Dylan and Gutherie crept into Tellin’ Stories. Then as Burgess expanded his vocal scale there was even a touch of Curtis Mayfield mixed with mid-western slide guitars and occasional gospel choirs joining the congregation on Us And Us Only.

Burgess’ involvement with Lambchop followed after he went to see them at a gig in Manchester then helped lead singer Kurt Wagner load his van. Burgess asked him whether he’d like to work with them to which Wagner replied, “you write the music, I’ll write the lyrics”.

Tonight, Wagner tells us that when he first met Tim he wasn’t quite sure who he was. He’s also distracted by Tim’s hair when he comes on to duet during Lambchop’s set quipping “what happened? when I met him he looked normal you know quite preppy, is it because he’s gone vegetarian?” Wagner’s easy humour is a contrast to his gentle yet lyrically dense tales that have a soporific effect on a warm Sunday evening.

To be fair, Tim’s pudding bowl haircut bears a striking resemblance to his early years, cut when he was writing the chart-topping Weirdo and perhaps the new straw coloured thatch is a nod toward his alt.country roots?

When Lambchop is replaced by Burgess’ band after the interval, the influence is clear and the lush sound, similarly interchangeable. Wagner stood by his word and worked with Burgess on his most recent solo album Oh No I Love You, Tim still reverts to a trademark pimp shuffle when he delivers Wagner’s lyrics and the songs have a bit more bounce to them than a standard Lambchop tale but it’s an authentic take rather than a pale Northern imitation. Or what Tim calls “Mid North-Western”.

Obviously the biggest ripples of recognition are with the key-changed Charlatans songs. Starting with The Only One I Know then bringing on a string quartet for White and the already country hued A Man Needs To Be Told is taken to new heights. Wagner partners up for Weirdo and it’s at this point that you release that he is as much an outsider to country as Burgess. As Burgess’ set increases, so do the number of Lambchop members until finally there’s a full ensemble performance of the closest Wagner ever had to a cross over bouncy chart hit, Up With People.

As the recent remix album of Oh No I Love You highlighted, it’s also refreshing to see an artist who won’t settle into a trend and solely chug out the back catalogue. Unlike rock dinosaurs headlining Glastonbury this weekend, Tim Burgess refuses to be stuck in a musical rut or, indeed, framed by a (Jesus) hairdo.

Screen shot 2013-06-18 at 11.10.50 AM

Posted by & filed under Tech Review, Tech Tuesday.

It’s in no doubt that the Adobe suite of software is still the market leader when it comes to image manipulation. However, because they’re so powerful it can be heavy, taking a long time to load the software. A simple job such such as cutting out an image can take forever and with all the tools and options on offer, it’s difficult to remember how to do it. Clipping Magic is an browser based solution for this specific problem, currently free in Alpha.

In practice

I quickly made a logo transparent for a video that I’d been working on. The interface is very easy to use, you simply mark green on the area you wish to keep and red on the area you want removed.

Screen shot 2013-06-18 at 11.10.50 AM

Unlike Photoshop or Illustrator you can be pretty rough and ready with the area you want to remove. On an image as clear as this, the interface works out what you wish to do. Black background added below to distinguish difference.

techonologylogocroppedcleaned_clipped_rev_3

I then tried something a bit more challenging for last week’s Tech review slide and a black and white picture of Damo Suzuki.

leopardtyping_clipped_cropped_rev_1   Damo Suzuki Village Underground_clipped_cropped

There are more tools to help you refine or blur the edges, this was particularly useful when trying the make the coat look normal on the leopard and Damo’s hair not look too “bob-ish”, as Clipping Magic calls it.

Screen shot 2013-06-18 at 2.03.46 PM

Screen shot 2013-06-18 at 2.04.48 PM

With these images you need to help the algorithm out a bit more, but it’s considerably easier than the magnetic lasso and wand tools in Adobe. The refinement tools are also simple.

How it helps you

Time is often of the essence and using this tool prevents the need to load Photoshop or Illustrator for a simple task. It also means you can cut out photos on any computer without the cost and time spent installing the Adobe suite.

Drawbacks

According to the website this application is free whilst still in Alpha, hopefully the cost won’t be too prohibitive and a paywall doesn’t impede the speed of access to this tool. If you did want to do a professional crop – something that would be used in print, it would always be better in Adobe.

Summary

A quick and easy cutting out tool, much more magic than Adobe’s wand.

Rating


Screen shot 2013-06-13 at 11.49.38 AM

Posted by & filed under Tech Review, Tech Tuesday.

The iOS app Videolicious was launched a couple of years ago with the idea of allowing you to quickly create multimedia stories on-the-hoof. Last week journalism and technology website Poynter revealed The Washington Post asks journalists without multimedia backgrounds, to use the app.

How it helps you

This app is great for putting together quick packages whilst out in the field, press conferences, Marches or gigs. In Poynter’s demo Andrew Beaujon uses it from a technology and journalism conference.

Once you’re happy with your piece, you have the option to add licence free music and even filters. If you upgrade from the free version you can add licensed music and logos to make your video more professional. You then have the option of sending to YouTube or it can be shared directly via Videolicious’ own player and dashboard.

In practice

I created a quick dispatch based on an event I covered last week. It was relatively quick to put together, although I retrofitted it and had to spend time downloading the elements to my phone. The app requires you to do your post in one take, so I had to do quite a few retakes. This arguably, is good practice but not so good if you’re used to sorting out problems in the edit suite. Also the camera is really unflattering (especially if your shooting from a desk upward) and I was much more comfortable with just audio. A good point is that you can upload a high or lo-res version depending on whether you’ve got good phone coverage or not.

My attempt to upload to my YouTube account didn’t work.

Drawbacks

Surprisingly, even though it’s a few years old, Videolicious does tend to crash. But then my iPhone is in need of an upgrade and it might deal better with images and video shot on the phone. I would have liked more of a chance to fix things retrospectively but the video can upload to a dashboard where potentially a multimedia editor could pick it up, check and re-edit if need be.

Summary

An app with real potential, but it needs practice. And possibly a recent smartphone.

Rating


Posted by & filed under Multimedia.

Out to dry

The British High Street, the very centre of traditional town and village life across the country is disappearing. Shop keepers blame falling numbers of customers and business owners blame a rise in rents and rates. And according to the Confederation of British Industry, the gloomy situation on England’s high streets isn’t expected to improve. Click on this link to see the picture story with Audioboo’s embedded you’ll have to go here.

Posted by & filed under Tech Review, Tech Tuesday.

The New York Times’ Snow Fall project, an interactive story requiring the reader to ‘scroll’ through a range of multimedia, had such a profound effect  executive editor Jill Abramson claimed it became a verb in newsrooms with “all desks” trying to create something similar. Last week on Medium, Cody Brown laid claim to doing just that using Scroll Kit, a startup designed to streamline this process. Brown bragged that although the Snow Fall project took NYT “months to design”, his only took a “few hours to recreate”. His Snowfall how-to video and template have since been removed from Scroll Kit, but the fact remains that this is a powerful open-source web app.

How it helps you

A multimedia project that gives you complete control and allows you to create content in a few hours is of huge advantage to journalists.

In practice

I took an audio feature my wife produced and combined this with photographs I’d taken. I found the editing tool relatively easy to use once I had figured out how the layers worked. It took me longest to work out the best way to embed audio onto the pages and I eventually used a Flash embed from Audioboo.

This app is designed for the new internet experience, allowing content to be seen in all its widescreen glory on all devices. Due to the high res images and content, the project is created in its own microsite. This can then be transferred onto either your own website, or your title’s. It takes up to72 hours to for the DNS transfer and to reflect the new url, it can be viewed in this time but the url will be Scroll Kit. You can watch my finished project here but I’m going to experiment with the WordPress plugin. I’ve now put the story on this site using the WordPress plugin. Hmmm it looks like it’s stripped out my Audioboos – here it is with audio.

Drawbacks

Now that Cody Brown’s Snowfall tutorial has been taken down, there are very few how-to guides available so there is a fair amount of guess work. Although the step backwards function (undo for non-tech minded readers) mostly works, occasionally it freezes. On reflection my early pages were a little conservative, I became more confident at full screen photos as I worked through the project. The Audioboo embed was a bit of a fudge and I would like to see the developers integrate audio into the application itself. Also, it’s a standard multimedia lesson but I regretted not shooting any video which limited me to the full range of editing options available. I may still pop back and film a washing machine and loop it as the front cover. Despite Brown’s brag, this project took me a couple of days not a couple of hours. And although it’s close to the Snow Fall model, there are so many careful and considered touches it can be copied but not really replicated.

Summary

A really good multimedia presentation tool, but no Snow Fall.

Rating


Data Journalism website graphic

Posted by & filed under Tech Review, Tech Tuesday.

Emily Cadman from Financial Times mentioned in her talk at News:Rewired Excel is a good “gateway drug to data”. This idea was also discussed extensively at the International Journalism Festival in Perugia. Dr Ken Blake from Middle Tennesse State University School of Journalism agrees and through his YouTube-based Data Journalism course, he takes you from ‘the basics’ to ‘maximizing’ Excel.

In practice

I downloaded Dr Blake’s datasets for Introducing Excel and Rates ranks and filters in Excel then I loaded the videos into VideoNot.es (reviewed here). You can take a look at the timecoded notes here for Introducing Excel and Rates, ranks and filters from here. I also let Dr Blake know I was going to do this and he plans to supply these notes for all of his videos in the next few weeks.

How it helps you

Dr Blake’s tutorials look at using Excel specifically for Data Journalism, and he uses examples of sources which you may use in a newsroom including crime figures and population statistics.

Drawbacks

These are drawbacks with Excel rather than the tutorials. Of course, being a Microsoft product the software is always updating and if they have a significant overhaul (as they did in 2010) then these videos will appear dated. Excel was never designed as a Data Journalism tool, rather as a small office spreadsheet system. It is worth keeping this in mind when working on more complex projects.

Summary

A set of good introductory videos to help you get around the concept of using Excel for as a way of training you for Data Journalism, something our own Times Online Data team are looking at.

Rating


Posted by & filed under Tech Review, Tech Tuesday.

VideoNotes (launched this month) is a simple online tool that allows you to write notes alongside videos from a variety of sources including Vimeo, YouTube and Coursera. It was developed by Unishared, a French education start-up but Journalism.co.uk pointed out how it would be useful for journalists.

In practice

I took a Data Journalism panel discussion video (below) from the International Journalism Festival #ijf13 and typed in notes as I watched.

One good thing about this application is that the notes are timecoded, so when you click through them it will take you to the right place in the video. This is particularly useful in conjunction with the YouTube’s own timecoded embeds. So, for example if the main focus of your article was the impact of Nate Silver on Data Journalism you could run the discussion from this point. The other great feature of this application is that it stores the information on Google Drive, so you can collaborate on note taking. I’ve shared these notes with News International so if you work there you can see them. For the rest of you I’ve written some notes alongside a few Data Journalism tutorials. I’ll post something on this soon.

How it helps you

Not only is this a good internal research application but it could potentially be expanded to encourage collaborative and open journalism. Notes could add further context and clarification to a video and allow your audience to understand a story.

Drawbacks

This video was created with my News International Google Drive, I think in future I will use my personal Google Drive as current business restrictions mean that I couldn’t allow public collaboration on this. Although the note making device is very simple to use, it would be good to see the time codes so that specific key quotes could be more precisely cited. At the moment any attempt to correct this deletes the time code completely.

Summary

A useful tool to help guide you through video with a real potential for collaborative journalism.

Rating