(Click on the Playlist above to watch the four feature stories produced during the workshop by the teams from NBC, MBC-TV, Muvi-TV and Multi TV.)

Following the recent workshop in Namibia, DW Akademie Project Manager André Surén talked to onMedia about how the African Stories team are training crews to produce stories in a reportage style that strives for more dynamic filming through moving the camera and following action.

How do you train camera operators to achieve this more dynamic style of reporting?

AS: Most of the camera operators that we train on African Stories already know how to do the basics such as filming a sequence in 5 shots.  So, the big challenge for them is to sort of forget a little bit about some of the things they have previously learned. It’s a different style of camera work. We try to explain to them that camera movement needs plenty of practice and we need to do some practical exercises with them. That gives them a chance to try this new style a couple of times. Then we analyze it and say to them, ‘Look here and there you have to go in more close to the face’ or ‘Here and there we have to take one step back to see more of the whole scene’. After a while they really realize that this is a totally new style of filming and they’re usually very surprised. And we’re talking about camera operators who have had a lot of experience – they really start to learn new things.

What sorts of practical exercises help them to achieve good camera movement to follow action?

AS:  For example, the first exercise we do is usually a very simple situation and straightforward to do. For instance someone enters a cafe, orders a coffee and then the waiter brings a bill and receives the money. At first it’s challenging for them to film. But after a while they begin to understand that ‘Okay I film there, then I go this way, then need another shot from the other side’ and so on. That’s easy, but it starts to get more difficult if the action is really going fast. For example, if people are meeting each other, greeting, chatting for a while and then they GO. And they realize ‘Wait a second this is really hard because I had everything in my mind to do this, and then that and then this over shoulder shot, and a shot to one face, and another into action, and a closeup close above the hands’ or whatever. And they see that action can go very fast and they have to react quickly, it can be a bit stressful and you need to do it very fast. But we advise them carefully and say ‘Look if you miss one shot that’s fine, go to the next one’. Just be cool, be calm and follow it. And if something really doesn’t work, then you can interrupt and can say, okay lets please do it again. [Watch an example of a camera operator practicing below]

Do camera operators get a bit flustered or stressed during the training?

AS: Before we go out on location and film we train them to be relaxed and calm and to have special camera settings that makes it more easy for them for to shoot a variety of shots. Usually this more of a wide angle and a longer depth of field that allows to them to keep what they need in focus. On our Sony Z7’s we set the iris to something like F5.0 or F5.6. These small technical and planning points are important and help them not to be so stressed on a shoot.  Of course, they have to observe the basics too – checking the location for available light, checking the sound and analyzing any variables in the location before that start filming. And, if the action goes very fast, we tell them to take it easy, slow down and concentrate on what’s important. After the second and third exercise they tend to start understanding the need to be calm and they have to follow their shots. If they miss something it’s not the end of the world. I work with each team during the first couple of practical exercises, and actually help direct their movements.

So are you actually physically guiding a camera operator to perform these moves?

AS:  Yes, if I see that there is a need for it I do it definitely. And all of the camera operators are usually very comfortable with this. For example, I could see that one camera operator was not really doing very good closeups, so I guided him carefully to go in closer and to then follow the action to get wider shots with smooth movements.

What is it about these types of long feature stories and reportage style that is really challenging the crews?

AS: Lots of things. The planning starts before going out on location for sure. The research, knowing whom to interview, what kind of locations you can expect even though they may look different. But we talk together with the producers and show them how to organize themselves, how to structure their story. If that works, then the film that they want to produce is in their minds already before going out shooting. Of course nothing is written in stone. If something changes on location, fine no problem. But if you’ve got a good story and production plan then it’s easy to change your own structure. The teams have all done this on previous courses. They know things like aiming to have a good strong first picture to open their story. Or, remembering what was the last shot in the previous location and then thinking carefully about the first shot in the next location. Yes it is challenging for them but in the end they really understand that if you have this detailed planning, you get everything, you won’t miss anything, and the editing is also much faster.

What tips would you have for camera operators who want to try to achieve this sort of technique ?

AS:  They can practice by trying to film simple situations and capture 5 shots on the move. So I would suggest to ask their friends if they could film them greeting each other, or sitting and talking or whatever. So you film the scene and the interaction.  Your movement might be say a long shot, a medium shot with a different angle, then you need a different angle and a close-up of the hands, and shots to show the interaction between the two of them. Then you might move to film just the faces only.  And you try to make all the movements very, very smooth. Then edit the shots together and see what your sequence looks like. Again, it comes down to planning and practice.

What about from the other side, for producers and reporters, who need to work with the camera to try and achieve that type of look, what advice do you have for them?

André Surén

AS:  Nothing works without teamwork. There was an interesting example during African Stories. One producer said: ‘I do not need anyone, I make the decision and they have to follow it’. And after African Stories he changed his mind completely, saying ‘Nothing works without teamwork’.  And this is really important.  You have to communicate your story idea with the camera operator. You have to explain the length of the film, who you intend to interview and the different locations. They must work closely together. And this is challenging for them from the beginning because they needed more time, more advance planning, talking and organizing, but in the end they will really understand that the post-production will be much more faster and everybody is happy afterwards because they got what they needed. Communication is very important for teamwork. During African Stories we want the camera operator, the reporter or producer and the editor all working together.

C’est avec beaucoup d’engagement que quatre équipes venant d’Algérie, du Congo Brazzaville, du Bénin et du Cameroun se sont réunies à Douala pour une formation sur les grands reportages TV, dans le cadre du projet « Histoires Africaines II ». Après deux semaines de travaux intensifs, nous sommes parvenus à achever quatre films de 12 minutes. Les participants ont essayé de nouvelles techniques. Ils ont filmé avec une camera en mouvement, ils ont enregistré des interviews en pleine action.

Et voilà leurs films.

L’équipe du Congo Brazzaville s’est intéressée à l’agriculture. Frédérique Missamou, Nestor Ebongo et Ulrich Lekaka ont suivi Jean-Pierre Imélé, surnommé «le Roi du bio du Cameroun ». L’agriculteur essaie de développer de nouveaux spécimens de fruits et de plantes et travaille en étroite collaboration avec des petits cultivateurs.

L’équipe d’Algérie (Naima Chekchak, Lounès Ferai, Sami Grina) s’est penchée sur l’écrivain Marie-Louise Eteki Otabéla. Une femme militante, qui s’oppose au régime existant.

Les Béninoises – une équipe exclusivement féminine – ont choisi de montrer le processus de certification du cacao. Abiath Oumarou, Gisèle Abissi et Rosemonde Tchiapke se sont déplacées dans la partie anglophone du Cameroun et se sont donné la peine de nous expliquer toutes les étapes de la transformation de la plante jusqu’au produit fini.

Les Camerounais nous montrent le combat acharné d’un village contre la jacinthe d’eau. Cathy Toulou, Jérôme Demenou et Giovanni Temdie accompagnent les villageoises qui  essaient de transformer le diable en ange. Ils essaient de vivre désormais des produits dérivés de la jacinthe d’eau qu’ils fabriquent eux-mêmes.

The feature reports were recently produced as part of the 2013 African Stories series of workshops for TV journalists, camera operators, cutters and technicians (scroll to the bottom of the post to see the videos).

TV stations from 16 English and French speaking African countries are taking part in the long-term project to sharpen their skills and at the same time, produce compelling stories about everyday people and everday lives in Africa (you can find out more about the African Stories project here).

In August, TV teams from Nigeria, Kenya, Tanzania and Uganda met in Kampala for an 11-day workshop. This time, the DW Akademie trainers stepped up the challenge by introducing techniques for filming with a moving camera – a skill that needs some practice.

“This was new to me at the beginning and it wasn’t easy to grasp,” said camera operator Richard Ocloo-Dzaba from Nigeria. “But with more and more practice, I got the knack of it and when we did our production in the field it proved to be not only a very efficient way to work but provided very lively and realistic footage.”

Watch what participants say about the African Stories II Workshop

Twelve of the 16 participating teams will later have the chance to produce longer TV features in a series of coproductions with DW Akademie journalists. As well as learning new film techniques, those participants who make it into the final round will also be trained in how to pass their newly acquired skills to their colleagues.

“I am looking forward to the train-the-trainers part of the project,” said Lwanga Andrew Kisegerwa from Uganda. “Many of my work mates have received little, if any training and could perform much better and more efficiently if introduced properly to the trade.”

Banana Wilt – AIT TV, Nigeria: Omoregbe Darryl Bazuaye, Gbenga Stephen Janehin, Richard Ocloo-Dzaba

The banana wilt plant disease is devastating the cooking banana harvest in Uganda. This report looks at what can be done to prevent the spread of banana wilt and what measures could be taken to ensure a reliable supply of this major food staple.

Living with HIV in Uganda- KTN TV, Kenya: Wilkister Nyalal Nyabwa, Brian Masheti Mulindi, Calvin Omondi Jabedo

The story shows the daily life of an HIV-positive woman who isn’t afraid to speak out openly about her status. As an HIV/AIDS activist, she fights hard to convice people to get tested and inform themselves about the disease.

The Godfather of Electronics in Kampala – Star TV, Tanzania: Paul Charles Mabuga, David Julius Ngahyoma, Emmanuel Mkina Makwaya

Known at the ‘Godfather of Electronics’, an elderly man teaches young people in Kampala to repair technical equipment. Thanks to his help, they can earn a living and support their families.

Briquette Making in Uganda – WBS TV, Uganda: Kennes Odongo Bwire, Ismail Shafik, Lwanga Andrew Kisegerwa

Briquette makers turn the organic waste found in garbage into an environmentally friendly and cheap source of energy. Compressed briquettes are increasingly been praised as an alternative to wood charcoal, the production of which causes extensive deforestation.

L’équipe du Sénégal était la première à être à l’épreuve. Leur objectif : Montrer l’impact économique de l’artisanat à Dakar. Pour illustrer leur thèse, l’équipe exclusivement féminine de la RTS a suivi un artisan expérimenté qui fabrique des meubles à base de cornes. Voilà le film de Bineta Wague, Aminata Wade et Khady Racine Diop:

L’économie fut également le sujet de préoccupation de l’équipe de Guinée. Ils ont choisi de travailler sur la relance de la culture de bananes en Guinée. Au temps coloniale, la Guinée était le premier exportateur de bananes, mais au cours des perturbations politiques cette denrée a perdu de l’importance. Ibrahima Keita, Siby Sékou et Fodé Moussa Camara ont déniché une femme qui se bat côte à côte avec sa coopérative agricole pour rendre à la banane sa place historique :

L’alimentation a aussi séduit les béninoises, la deuxième équipe exclusivement féminine du projet. Abiatou Oumarou, Rosemonde Raymonde Tchiakpe et Gisèle Akom Modoukpe Abissi ont filmé la production du Gari. Produit à partir du Manioc, il s’agit ici d’un aliment de base au Bénin. Mais au lieu de se contenter de décrire les différentes étapes de la production, elles ont élargit leur focus sur la dimension sociale de la production agricole en se concentrant surtout sur les conditions des femmes:

Author: Gerlind Vollmer

Nous sommes à Dakar en pleine session de formation. Quatre équipes de télé, venant de quatre pays différents, chacune composées d’un journaliste, d’un caméraman et d’un monteur se sont réunis pour suivre la première session du projet Histoires Africaines II.

C’est le dernier jour de préparation, demain les tournages commencent. Le but de ces deux semaines de formation: Tourner des grands reportages de qualité. Après des exercices de prise de vue et de longues discussions sur les sujets et leurs dramaturgies les participants ont planifié leurs tournages respectifs. Une fois sur le terrain la réalité en est une autre, mais nos équipes font preuve de la flexibilité et de l’acharnement. Ils montent leurs reportages jusque tard dans la nuit, s’appliquent pour écrire un texte pertinent et bricolent jusqu’à ce que le son d’ambiance colle à cent pour cent. Et voici quatre grands reportages réussis.

Les bénéfices du sel  – Reportage de l’équipe de la Guinée

L’équipe de Guinée (Ibrahima Keita, Sékou Siby et Fodé Moussa Camara) s’est intéressée à l’extraction du sel au Lac Rose. A une trentaine de kilomètres de la capitale Dakar des ramasseurs de sel comme Toye Diagne sont dans l’eau jusqu’à la poitrine. Ils cassent le sel déposé sur le fond du lac avec un piquet avant de le ramasser à la pelle pour remplir des pirogues d’une capacité d’une tonne.

Le lac, c’est un véritable trésor pour les cinq villages avoisinants. Les villageois se sont réunis pour mieux gérer les revenus du lac. Un comité de gestion relève les taxes et les repartit au bien du développement des communautés. Voici le reportage de l’équipe guinéenne :

La destination de l’espérance  – Reportage de l’équipe du Mali

C’est une opération précise. L’injection doit aller droit à la rétine. Aliou Lam n’hésite pas.

L’ophtalmologue et fondateur de la clinique ‘Colaser’ fait cette opération plusieurs fois par jour. Il nous a ouvert les portes de son bloc opératoire. L’équipe du Mali (Ramata Konaté, Aliou Touré et Kadida Haïdara) a enfilé des tenues vertes des médecins et a filmé l’intervention. La clinique moderne – preuve du développement au Sénégal.

Désormais, les ressortissants de l’Afrique de l’Ouest ainsi que la classe moyenne sénégalaise n’ont plus besoin d’aller jusqu’à Paris pour des soins médicaux.

Xuman, un rappeur infatigable – Reportage de l’équipe du Burkina Faso

Cris d’enthousiasme, applaudissements. La masse est électrisée. Xuman entre sur scène, prend le micro et enflamme son public.

Le rappeur joue à l’université de Dakar et l’équipe de Burkina Faso (Nita Belemsobgo, Abdoul Kader Savadogo et Oumar Coulibaly) s’est mêlée à la foule. Pendant des jours ils poursuivent l’un des icônes du rap sénégalais dans son quotidien agité.

Ils assistent à plusieurs concerts, filment la production de son journal rappé et sont à ses côtés lors qu’il s’occupe des enfants de la rue.

Khalifa Diallo et ses poulets – Reportage de l’équipe du Sénégal

Khalifa s’approche à pas de loup. Habilement il fait un mouvement brusque et attrape la poule.

 Tous les autres s’envolent en caquetant. Il contrôle l’état de santé de ses poules. Pour le moment il se contente des poules pondeuses, par contre il envisage d’établir l’élevage des poules de chair. L’aviculteur Khalifa Diallo fera bientôt face à la concurrence internationale, car le Sénégal réfléchit d’ouvrir son propre marché, avec des conséquences pas encore prévisibles.

L’équipe sénégalaise (Bineta Wague, Aminata Wade et Khady Racine Diop) s’est intéressée à ce secteur en pleine croissance.

Ici et là, elles ont caché leur caméra dans les poulaillers et nous montrent l’aviculture en images ingénieuses.

Author: Gerlind Vollmer