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Video interview: Vincent Laforet on his upcoming Directing Motion tour – will it be useful for factual shooters?

By site editor Dan Chung:

Newsshooter interview: Vincent Laforet on his upcoming Directing Motion tour from Dan Chung on Vimeo.

Vincent Laforet is the best known pioneer of the video DSLR revolution with his early work on the 5D mkII. Once a news photographer for the New York Times, he turned his attention to creating video and is now a director working in LA. The move from stills to shooting video, and now to directing, has taught Laforet many things. One key difference is that great film and video require the mastery of motion – how to move the camera in a dynamic way that helps tell your story and makes it more engaging for the audience.

Laforet believes that these principles apply just as readily to real world shooting as they do to narrative filmmaking and commercials. The way you move the camera around your subjects in a documentary or a news package can add impact and take it to another level.

To help filmmakers and video shooters learn these creative skills, Laforet is embarking on an educational tour through North America. From May 6 to July 13 he will visit 32 venues across the continent, showing how he works as well as analysing the use of motion by other famous cinematographers and directors.

You can get a flavour of what to expect in the workshops from this video:

Directing Motion Sneak Peak – Tour starts May 6 thru July 13, 2014 from Directing Motion on Vimeo.

Knowing Vincent and his commitment and enthusiasm for craft of filmmaking I would recommend this tour to anyone interest in improving their skills. I firmly believe that news and documentary shooters have a lot to learn from our Hollywood brethren and mastering the use of motion is probably the single most useful skill for shooters like myself.

To find out more about the tour and to book a place visit the Directing Motion website.

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Posted on May 1st, 2014 by Dan Chung | Category: documentary, Journalism, technique, Training | Permalink | Comments (0)

Three Tips for Getting a Video Production Job – excellent advice from Columbia J-school’s Duy Linh Tu

Guest post by Duy Linh Tu:

Fifteen years ago, I went to journalism school to become a Cameron Crowe-style music reporter: Lots of think pieces about mid-level bands. But somewhere in the months before graduation, I abandoned the written word and fell in love with video storytelling. I had neither the looks nor the desire to be on camera, but I instantly fell for shooting and editing. Since graduation, I’ve been lucky enough to earn a decent buck producing videos.

As the end of this school year approaches, many of my J-School students are worried about getting jobs. They are laying out beautiful resumes and putting together WordPress portfolios with slick Snow Fall-esque themes. Over the years, I’ve been in the fortunate position of hiring crews to work with me on various projects. The resumes and sites my students are obsessing over are gorgeous, but I can’t remember an instance when either of these things compelled me to give someone a job.  

What makes me want to hire a shooter, a producer, or an editor?  I’ll admit a lot of it is pure nepotism: I hire my friends.Lucky for me, my friends are some of the best in the business. But, there are many times when I have to test the waters and use some new folks.

So, what do I (and presumably others looking for talent) want in a hire? Really, only three things:

1.  You Have Real Skills. I don’t care if your work has appeared on the New York Times site or only on your personal Vimeo page. I don’t care if your videos have been seen by millions or dozens. I just care that your videos are good. I care that you know how to:  compose beautiful images, properly expose footage, manage color, shoot complete sequences, get good sound in the field, manage media, and edit compelling stories. Your producer title at CNN and internship at The New Yorker mean absolutely nothing to me if you don’t have any real skills.

2.  You’ve Done A Lot of Work. I don’t care if you graduated from Columbia Journalism School or never even went to college.  I don’t care if you’re a “professional” or just learning the trade. I do care deeply if you have a big body of work.  It doesn’t matter if you’ve only produced student projects, practice exercises, or spec videos. If you work constantly (a story a week as Ira Glass suggests), I will know that you are committed to the craft of video storytelling. You’ve already made a lot mistakes and you’ve learned a lot on your own. More importantly, it shows that you’re not afraid to make more mistakes and you are willing to learn even more. I meet many people who think video production is fun and exciting work. It can be. But most of the time, it is just brutally exhausting. A big body of work helps me separate the dedicated ones from the posers.

3.  You Are Not a Dick. Video production is not a 9-to-5 job. It’s long hours in uncomfortable environments crushed under tight deadlines. And things go wrong all the time. I’ve learned to deal with and manage all this. But what I can’t stand to have on any of my shoots is a sour attitude or an overblown ego. Being polite is Rule #1 (Polite = “Please” and “Thank you.”). Being on time and reliable is Rule #2. Having a great sense of humor is Rule #3. It’s really not more complicated than that.

Be careful: This is a small, small world. If you were a dick to someone, then most likely word has gotten around. I am grateful whenever someone warns me about potential personnel problems and I’ve never hesitated to put dicks on blast. Also, sexist, racist and homophobic jokes on set aren’t cute. Go there, and you’ll will never work with me again.

And that’s it. Pretty simple. So, instead of spending time deciding on Helvetica or Arial, you should grab your camera and go out and make something now. Each and every time you shoot or edit, you get better. I (and others hiring) will be able to see your improvement with each video you post. You don’t need to be an expert. But if you have shown a commitment to getting better, then there’s no doubt I want you on my team.

Happy shooting,

Duy

Duy Linh Tu is Assistant Professor and Director of Digital Media at the Graduate School of Journalism, Columbia University.

This post original appeared on Duy’s Tumblr and is reproduced here with kind permission.

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Posted on April 29th, 2014 by Duy Linh Tu | Category: Journalism | Permalink | Comments (0)

Newsshooter interview: The state of online news video with Duy Linh Tu of Columbia J-School

By site editor Dan Chung:

Newsshooter Skype interview: The state of online news video with Professor Duy Linh Tu of Columbia J-School from Dan Chung on Vimeo.

US Newspapers and other online publications are currently in the midst of another wave of investment in video. But does this all makes sense? are they making any money from video? how large are the teams working on these videos? how do you define news video? and why the emphasis by many on the longer form?

Professor Duy Linh Tu from the TOW Center for Digital Journalism at Columbia Journalism School recently published a landmark report on the state of video journalism in the US today (which Chuck Fadely reported earlier). We caught up on Skype yesterday.

Duy is a long time friend of this blog and he talks with me at length about his findings and what they mean for those of us working in the field of online video news.

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Posted on April 17th, 2014 by Dan Chung | Category: DSLR video news, Journalism | Permalink | Comments (0)

NAB 2014 panel discussion replay: Newsshooter team talk Video Journalism

By site editor Dan Chung:

NAB 2014: News Shooter – Video Journalism Panel from Teradek on Vimeo.

One of my favourite panels from last week at NAB was this one on the state of video journalism. I spoke to four members of our Newsshooter volunteer team – Slavik Boyechko of PBS, Guardian freelance multimedia shooter Felix Clay, Chuck Fadely of Newsday and Japan based freelancer Adrian Storey. They talk about their work and offer insights into what makes them tick.

I’d recommend watching this panel in combination with the TOW Center at Columbia J-School report by Duy Linh Tu which we posted earlier today.

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Posted on April 15th, 2014 by Dan Chung | Category: DSLR video news, Journalism, NAB show | Permalink | Comments (0)

Video Now: The state of video journalism today – a report by the TOW Center for Digital Journalism at Columbia Journalism School

By Chuck Fadely:

What’s the status of non-broadcast video journalism in 2014?

The TOW Center for Digital Journalism at Columbia Journalism School released a report today on the state of video journalism. Professor Duy Linh Tu and his crew put together a multimedia report by visiting newspapers, digital media properties, and shows like Frontline and VICE.

From their description of the project: “From October 2013 until February 2014, Tow Fellow Duy Linh Tu and the Video Now film crew visited newsrooms across the United States to interview and observe reporters and editors producing video journalism. Video is an important editorial tool and a potentially large revenue source for newsrooms, but there seemed to be no consensus on how to produce or profit from it. With that in mind, Video Now, set out to answer three main questions: 1) How do news organizations define video 2) How do they produce video? 3) What is their return on investment?”

They introduced the report with a live panel discussion, archived on the video above.

There’s more on Chuck Fadely’s Newspapervideo blog.

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Posted on April 15th, 2014 by Chuck Fadely | Category: Journalism | Permalink | Comments (0)

281_Anti Nuke: Brit filmmaker Adrian Storey films a Japanese anti-nuclear street artist for VICE

By Newsshooter contributor Adrian Storey:

It was a few months after Japan’s March 2011 earthquake, tsunami and the nuclear disaster that followed in Fukushima that I started noticing the stickers of a little girl in a raincoat, scattered around the Shibuya district of Tokyo, bearing the legend “I hate ☢ rain”. I started to photograph and video them.

The months following that disaster were strange. All the lights that had been off or dimmed went back on and life in Tokyo seemed to return to normal – it was as if nothing had happened, or was continuing to happen, just a few hundred kilometres north. For me it felt like the destroyed Fukushima Daiichi nuclear power plant seemed to be always lurking, just out beyond my peripheral vision. The daily ritual of checking every item I bought in the supermarket for its origin had become second nature, but it seemed as if the vast majority of the Japanese public had just hit the reset button and were carrying on exactly as they had before.

It was during all this that the “I hate ☢ rain” stickers really caught my attention. I had no idea if they were being put up by a Japanese or a foreign street artist. They intrigued me and gave me a sense that someone else out there also continued to feel uneasy about the behaviour of the government and power company surrounding what was very clearly a serious situation. ”Keep calm and carry on” just wasn’t working for me, and clearly not for whoever was putting up the stickers.

I continued to film and photograph the stickers for about a year, and made some attempts to find out who the artist was – but to no avail.

©Uchujin - AdrianStorey

©Uchujin – AdrianStorey

For the first anniversary of the disaster I put together a minute-long piece, using footage of the stickers that I had shot in a bid to make a statement about the ongoing situation. Shortly after posting it on my website I received an email and some tweets from someone claiming to be “281_Anti nuke”, the artist responsible for the work. He wanted to know if he could post the video on his website. Of course I was happy for him to do so – but on one condition: that he allow me to interview him for a documentary about him and his work.

I had no idea whether I would be able to get funding to make the piece, or sell it once it was finished, but this felt important. Often, some of the most rewarding filmmaking for me is personal work. These are pieces I do just because I love the subject, with no time constraints and the freedom to create something I care about deeply.

Street art and graffiti have been a passion of mine since I was a teenager. I may, or may not, have dabbled in street art myself, depending on who is asking. Although a little reticent at first, 281 agreed to let me make a film about him … then disappeared. His website went down and his Twitter feed disappeared. He basically vanished.

The stickers were still appearing around Shibuya; constantly changing designs of the little girl and slowly some additional designs criticizing Tepco (Tokyo Electric Power Co.,­ the utility that operated the Daiichi plant). I knew he was still around, but how to contact him? I had become a little obsessed with meeting whoever was doing this and finding out who they were and why they were doing it. I continued to search out and film his stickers using my trusty Canon 5D mkII (Magic Lantern hacked), which I carried with me wherever I went.

I had to wait a few months until suddenly one day the Twitter feed popped back up, and after a few direct messages, 281 agreed to meet me to discuss the documentary. I was a little surprised when he told me to contact his manager to arrange it, but went ahead.

A week or two later, myself and my translator/producer Erina Suto were sitting across a table in a cafe from manager Ryan Roth and 281, a nervous looking guy in a black hooded top, dark glasses and a face mask. Many months would pass before I saw him dressed in any other way and even now I have only seen his face briefly on a few occasions. Understandably, given the illegal and inflammatory nature of what he was doing, he wanted to check me out as much as I did him. The meeting seemed to go well, and despite not being able to tell him what would ultimately happen with the film, he agreed to be interviewed and let me shoot footage of him on the street.

Over the next couple of months, 281 and I met several times and I would witness him stickering around Shibuya. I was worried that filming him while he was doing his thing might cause unnecessary attention. I kept my setup very minimal: a 5D mkII with Sigma 20mm 1.8 or Canon 50mm f1.4 on a monopod – manoeuvrable, unobtrusive and stable. Sometimes I used a cheap LCD loupe I had bought off eBay to add extra stability, particularly with the 50mm. We also filmed an interview, I believe his first, at a secret location. The room was bland enough to be impossible to identify.

Shooting the first 281 interview - undisclosed location - photo courtesy Ryan Roth

Shooting the first 281 interview – undisclosed location – photo courtesy Ryan Roth

It turned out that the reason his website and Twitter feed had gone down was due to online ultra rightists in Japan attempting to find out who he was. Several very unpleasant threats and comments had been made to him. Keeping his identity secret was important to protect his physical safety.

The interview was shot on the 5D mkII with a Canon 24-70mm lens. I used 2 LED lights: One on him to give the hard shadowed look I wanted, and one on the background to give some separation. I recorded the sound with an Audio Technica lav mic running into a Zoom H1 audio recorder. In a more relaxed interview a few weeks later, in a different location, 281 showed me his laptop to illustrate how he designs the stickers. Further footage showed him cutting each individual sticker by hand.

The second interview was again filmed with the 5D mkII, this time on a Wieldy Carbon fiber stabilizer to give a more fluid movement to the shots. I also used a 60cm long slider to give higher production values that complemented the street shots.The piece was edited in Adobe Premiere Pro CS 5.5. Dual system audio was synced manually from the Zoom.

A lot of the early sticker footage I had collected over the year or so I shot was a little shaky – because much of it was shot on the fly, heading home after a few beverages. I knew new stickers wouldn’t last long so I had to shoot as soon as I saw them appear – handheld on the 5D. This footage was stabilized in post-production using the remarkable warp stabilizer in Adobe After Effects.

Most music used in the film was sourced from musician friends in Tokyo with whom I have ongoing relationships. They supplied tracks in exchange for help with music videos or website assistance.The exception was the track used for the opening and closing sequences by a band from Kyoto called Frying Dutchman. I wanted something unique and powerful to compliment 281′s work. A few months before I had seen “Frying Dutchman” play at an anti nuclear march in Tokyo’s Yoyogi park and a friend had put me on to an epic 20 minute song of theirs called “Human error”. The song was perfect. After a frustrating few weeks of trying to contact them via their website, I managed to get in touch with them via contacts in Kyoto. We met in Tokyo, and after a few drinks and a showing of the rough cut of the film, they agreed to sign a release for the music.

Frying dutchman performing at an anti nuclear rally, Yoyogi Park,Tokyo 16th July 2012 – ©Adrian Storey

Frying dutchman performing at an anti nuclear rally, Yoyogi Park,Tokyo 16th July 2012 – ©Adrian Storey

Erina and I rushed to edit a version of the film to make film festival deadlines, and in the haste, produced something that we were unhappy with. It felt rushed and incomplete.

Paid work took a lot of my time away, and I was forced to shelve the film for several months. During this period, 281 began to get significant foreign press attention. Articles appeared in The New Yorker, The Japan Times, on Giant Robot’s website and in other places. Significantly, several articles mentioned the original short documentary I had made and linked to the trailer.

A lull in my other duties allowed me to return to work on the film. With the help of some respected friends, I put together a new edit that I was much happier with. Add in a little colour grading in Adobe Premiere Pro (mainly using fast colour corrector and the free Power Mask plugin), some Audio sparkle from Adobe Audition, and we arrived at what I considered to be the finished film. The question now was how to release it. It felt too important to just stick on Vimeo, I wanted a wider audience for it. I felt like 281 deserved it.

It was then that I went to VICE Japan, for whom I had made another documentary. They had previously turned down the original 281 film. Upon seeing my cut, and having noticed the media attention, VICE said they were interested given a few provisos: They wanted interviews with his manager Ryan Roth; the writer of the New Yorker piece Roland Kelts; and a “graffiti” expert to round out and further legitimize the film.


My previous film for VICE Japan.

With the help of my friend Sean Bonner, I managed to secure an interview with the influential LA based graffiti artist Saber, who is perhaps most famous for the large piece he did on the bank of the Los Angeles river in 1997. The final work, measuring 250×55 feet (76×17 meters) has been called the largest graffiti painting ever. It was even visible from satellites.

I needed to hire a cameraman in LA to film the Saber footage. After reaching out on Twitter, a retweet from my friend and Newsshooter site editor Dan Chung secured someone to do it in 20 minutes! (Big thanks also to Jon Putek, who also supplied some LA b-roll at no additional cost). A similar situation arose with the Ryan Roth’s interview in Hong Kong. A colleague, Newsshooter contributor Jonas Schoenstein,  happened to be in Hong Kong and was able to record the interview.

It was the first time for me to pay other shooters to help me finish a documentary. A quick additional interview with Roland Kelts in Tokyo filmed by me on my recently acquired Canon C100 (a dream camera after working with the 5D for so long), and all the footage was ready.

I handed over my original edit of the film to VICE as an Adobe Premiere Pro file. All the additional footage was also given to VICE, who wanted to do their own edit of the piece. I agreed to pass on the editing, but it was a difficult decision. I had spent so much time on the film and felt so close to it. Thankfully, I was allowed a lot of input during the editing stages at VICE as the director.

Respect to Akira Kamitaki, who edited the final version you see here. Thanks also to Sebastian Stein (Vice Japan Production Manager) and Eiji Iwakawa (Vice Japan Post Production Supervisor) for their work on the film too.
 That said it was painful for my ego to see a producer and editor chop sections out of my film and reduce the length down to a VICE-friendly fifteen or so minutes. I kept reminding myself that by handing the film over to them, I was ensuring a much wider audience. And was at least going to make some money for all the time and effort I had put in it. Akira retained a great deal of my original edit, adding extra footage and adapting the piece to suit VICE’s in-house style.

The short is finally – 2 years later – seeing the light of day. 281 gains increasing exposure, more articles and short video slots are appearing about him, and this piece allows him to speak at greater length about his work and motivations. I would like as many people as possible to see his work and think about what he has to say.

To me, this shy, middle-aged Japanese guy has become something of a hero. I hope his work continues to make people in Japan question what their government and corporations are doing (or not doing) in their names.

He is one of the good guys.

Adrian Storey a.k.a. Uchujin – made in England in 1972. He has led an eclectic life, travelled extensively and has lived in Asia for the past 15 years. He is currently based in Tokyo, where he works as a filmmaker, camera owner/operator, editor and freelance photographer. Work ranges from documentary to music video. Adrian has worked for numerous international clients including Greenpeace, VICE Japan, The Guardian & The Sun.

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Posted on March 12th, 2014 by Uchujin | Category: Canon C100, Journalism | Permalink | Comments (0)

VICE News goes live: What does it mean for Generation 5D ?

By Newsshooter contributer Spencer Chumbley:

vice news

Love it or loathe it, the VICE Media foray into the news world has begun. The VICE News beta website officially launched on March 3 2014, after a pre-launch period where a lucky few thousand eager viewers who had signed up early were given access. 

Media outlets like POLITICO, Fortune Magazine, Nieman Journalism Lab, and The Guardian gave our startup’s launch ample coverage with many commentators are making predictions about its impact on the news landscape. The coverage points to a news organization where “video works”, but what does the launch of VICE News mean to the community of news and documentary shooters? 

I’m a member of what could be called “Generation 5D” in the news shooter world. I’m in my late twenties and only started my career in video a few years ago. I taught myself to shoot video on DSLRs and developed my current addiction to the craft – helped in part by the low barriers to entry afforded by such cameras. 
 

Short documentary shot on the Canon C100 and Canon 5D mkIII.
 
For me, VICE News represents a new trajectory for a generation of young shooters who came of age among a world of DSLRs from Canon, Nikon, and Panasonic. It is more likely for Generation 5D to have cut our teeth via self-funded projects on YouTube or Vimeo. We have cut out the years spent at a local network affiliate, before working the way up to a national or international broadcast outlet. We use cellphone signals instead of satellite trucks. Our cameras are smaller and our backs don’t hurt quite as much.

As a producer and shooter for VICE News I do much of the same thing any independent visual journalists or documentary shooter does on an average working day – just with a bit more support. I research, pitch, produce, shoot and script nearly all my own stories. What differs is the support network. Unlike the echo of a freelancer’s empty room, I work with a team of associate producers and editors. They help keep me focused, funded, and fed when I’m on the road. When I’m not producing or researching my own stories I’m out shooting and field producing for other colleague’s projects on an ad-hoc basis. 

At work in my old job for Al Jazeera with the Canon C100 with Atomos Ninja recorder

At work with the Canon C100 for Vice News

Under the VICE News banner I hope to push my work towards a higher standard of visual news journalism. The bar is set by programs like Al Jazeera’s Fault Lines. Think: current affairs programming where the level of cinematography matches the breadth and depth of reporting, paired with grit and energy of youthful correspondents. The gateway for a young shooter into the news or documentary world has diversified and VICE News epitomizes that change. While this “youth media” brand may not provide many opportunities for the older generation, we all can find solace that one more media organization is inspiring young people to pick up a camera—of any kind—and tell stories.
 
This entry represents the first of many pieces I will be writing for Newsshooter.com from the perspective a younger, greener and more budget conscious news shooter.

Spencer Chumbley is a producer and shooter for VICE News in New York City. He previously was a fellow at Al Jazeera’s Fault Lines. Follow him on Twitter at @SpencerChumbley

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Posted on March 5th, 2014 by Spencer Chumbley | Category: Journalism | Permalink | Comments (0)

The Back-up Plan: UK Channel 4 shooter Matt Jasper gets fit to shoot

Guest post by Matt Jasper:

My work often puts me in uncomfortable positions

My work often puts me in uncomfortable positions

A few months ago I read a blog post from BBC cameraman Christian Parkinson which has inspired me to share my experiences here.

The health of our bodies, and in particular our backs, is vital to being an employable camera operator. We have all at some time felt a twinge as we threw the camera over our head in a scrum, or chased someone with the camera on our shoulder, or having to shoot while wearing all sorts of protective armour.

For the last few years I have been a bit over weight. Last year I started to eat healthier, cut out beer and lost eight kilos. I am still heavier than I want to be but am working on it. Sadly losing weight didn’t equal gaining strength or increasing my fitness level.

Over the years I have had the usual back problems and anyone who knows me would have heard me whinge at some time or another. With Christian’s post in my head I went looking for something that i could do to help me get through the pain and to try and prevent it from happening in the first place. I had a few things to consider.

First I travel a lot and am often staying in hotels that don’t have gym facilities. I need to be able to exercise with very little equipment. Second, as a bureau cameraman my work schedule is unpredicatable. It can include days in front of a computer screen and then, all of a sudden, weeks shooting and editing 18 hours a day. Third, I was starting at a pretty low base. Whatever regime I chose had to be easy-ish to start with and have the ability to be upscaled when it got too easy.

One of the few things I remember from high school sports lessons is how professional athletes train. They time how often there bodies are at rest and how often they are working. Then they try and replicate these results in the gym/training. This kind of training is sometimes called interval training. For example a professional footballer might be at rest for 30% of a game so his training would consist of a 70/30 work/rest split.

Working at full capacity as camera operators we tend to work in concentrated bursts of a few minutes – whether that is having to hold a camera over your head in a scrum or running etc. Usually we have periods of rest in between the short periods of madness. Of course that is not always the case, some of you might have to carry the camera, tripod and run bag on a hike through a jungle in 39 degree heat and 90% humidity and only intensive aerobic training will prepare you for situations like that!

For me I found the seven minute workout. Phhhft, I hear you say. Remember though, that i was starting from basically nothing, wanted to use little or no gear and wanted to be able to do it anywhere. This the first article i read about the program.

The seven minute workout featured on the New York Times

The seven minute workout featured on the New York Times

It is basically 7 minutes of pain, all done in your bedroom, hotel room or wherever with only a wall, chair and the floor required. Yes it will kick your butt initially, and the best thing is that when you get used to doing it once a day, you can easily then do it twice/thrice a day or whatever, depending on your fitness level.

There are plenty of free apps out there as well for your smart phones that will lead you through it. It works most of the muscle groups in your body and also works on your aerobic (hearts/lungs) fitness and all takes less than 10 minutes a day.

Of course this isn’t for everyone and if you happen to be one of those mad camera ops who also does marathons then this is not for you.

So what changes have I noticed you may ask? Well, after doing the routine nearly every day for four weeks I haven’t lost any weight. What you say? No weight loss? Well that is because muscle weighs more than fat, so the fat that I’m losing is made up for by heavier muscle. I have lost inches though, around my stomach in particular. Other areas I have gained centimeters, mainly my thighs and upper arms, torso. I can even see the beginnings of a six pack!

I also feel stronger in my day-to-day duties, stairs are easier and so is positioning my slightly front-heavy camera rig for longer periods of time. I feel more able to carry all the gear I require for longer periods of time. The seven minute workout concentrates on your core body strength and that is what is so useful to us.

The normal seven minute workout doesn’t includes enough emphasis on biceps for my taste so I compliment it with bicep curls using a neutral grip. This more closely resembles the way we pick up the camera. This requires dumb bells so add that exercise if you have them.

Camera makers these days seem not to worry as much about ergonomics as they used to – most cameras are getting more awkward to hold and operate without a heap of rods and rigging. If you, like me, are starting from a low base, want to be able to exercise anywhere using little or no equipment then I thoroughly recommend the seven minute workout.

I want to be employable for as long as possible and looking after my back is one way I plan to achieve that.

Matt Jasper is an Australian cameraman who moved to Beijing 11 years ago to work for ABC Australia. He is now the Asia cameraman/editor based in Bangkok for Channel 4 News UK. You can follow him on Twitter @matt_jasper

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Posted on February 23rd, 2014 by Matt Jasper | Category: Journalism | Permalink | Comments (1)

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