Those who refer to themselves as professional videographers are standing on shifting ground. Tried and true jobs and clients are disappearing, and paying work is getting harder to find. There's considerable nervousness across the land. So what's the future for video? Or better put, what's the future for all media? How will people that make images for hire generate money in this stark new world economy? Photoshelter, the New York City-based company that creates websites for media people, sponsored the Luminance conference last week (Sept. 12 & 13). It brought together for two days luminaries from the world of photography, video, multimedia and publishing to examine the future of the media business. Questions about the future were repeatedly asked.
The latest annual survey by the Radio Television Digital News Association and Hofstra University has found local TV news staffs added 1,131 jobs last year, with TV news employment now at its second-highest level ever. The survey also found the average television station set a new record for the amount of local news aired with an average of five and a half hours of local news coverage a day. Most agree that an improved advertising economy and additional revenues from retransmission consent are helping local TV stations increase their investment in local news programming.
Ken Kobré, a professor of photojournalism at San Francisco State University, chose Panasonic's AG-HMC150 AVCCAM HD camcorder to shoot a wide-ranging documentary, Deadline Every Second, profiling 12 Associated Press photojournalists in action around the world. For two years, Kobré traveled three continents to film the news service’s outstanding photographers as they covered everything from clashes in the Middle East to the Tour de France race. Kobré photographed the AP photojournalists staking out the British Prime Minister at 10 Downing Street as well as AP staffers in the thick of wildfires in California.
Excellence in Journalism 2012, hosted by the Society of Professional Journalists and the Radio Television Digital News Association, will be held in Ft. Lauderdale, Florida from Sept. 20 thru 22. The conference brought 1,000 journalists together last year in New Orleans. This year, there will be professional development sessions, programs with top journalists and opportunities to network, learn and share with journalists from around the country.
There are plenty of warning signs about the ongoing disruption in the media industry, and everyone is looking for someone to blame. But when it comes to their journalistic competition, many traditional outlets still seem to look primarily at other media players such as the Huffington Post, Buzzfeed or Politico. As information architect and web developer Stijn Debrouwere notes in a smart post about the evolution of media, however, the reality is that much of what we find competing with journalism in the digital world are things we barely even recognize as journalism. How the industry adapts to that change will be the real challenge.
Responding to a survey that ranked TV and radio news as one of the 10 worst jobs in the country, many broadcasters say they love their work despite the stress, falling salaries, cutbacks and little growth potential cited by Careercast. A group well versed in deciphering bad news, TV news pros aren't buying Careercast.com's report naming broadcasting one of the 10 worst jobs in the country. "Well, I burst out laughing," says Hank Phillippi Ryan, an investigative reporter with WHDH, Sunbeam's NBC affiliate in Boston. "I love my job as a TV reporter."
Panasonic has announced the winners of its "Shoot It. Share It" online video contest, featuring the AG-AF100 Larger Imager HD Cinema Camera. During this year's contest, filmmakers could submit short entries shot on Panasonic's AF100 in six categories. A judging panel selected the top three semi-finalists in each category, the public voted online to choose category winners, and the judges reconvened to name the Grand Prize Winner...
From the frozen wilderness of Siberian Russia to the steamy jungles of Africa and many points in between, Buck McNeely has been on the road for his outdoor adventure series, The Outdoorsman, for more than 20 years. Standard issue for McNeely and his crew are Anton/Bauer batteries, which have powered the video for the show since the beginning. The crew's recent two-week, on-location filming of an African safari is the latest example of Anton/Bauer batteries' ability to work well in the most extreme environments.
Ken Howard, president of the Screen Actors Guild, took time out of Sunday night's televised SAG Awards to announce that the union's board had reached an agreement with AFTRA, which represents thousands of TV journalists, to merge the two organizations. "This weekend, our boards have overwhelmingly endorsed a plan for the merger of SAG and AFTRA," Howard told those in the awards show audience, as well as viewers watching at home.
Cinematographer Dan Kneece SOC knew that he would have to be resourceful when prepping for the indie feature, Plastic Jesus. With a tight schedule and limited budget, he chose his camera and lighting package carefully. But thanks to the suggestion of gaffer John "Fergie" Ferguson, Litepanels MiniPlus and MicroPro LED lamps became his secret weapons on the project. "With the high sensitivity of modern digital cameras and my desire to really capture the aesthetic of this film, we needed small lights," said Kneece.