adventures


20
May 15

Visual journalism at the BBC

Today we had the privilege of meeting Amanda Farnsworth, and Bella Hurrell, the editor and assistant editor of visual journalism at the BBC. They gave us a tour of their new, amazing, newsroom. Here’s the overhead map:

Farnsworth told us the BBC will be merging more of their products now that their national elections are over. She said it is already happening in video “with a vengeance. You can see even at the technical level TV and the web are coming together. We are trying to make that happen everyday.”

Visual journalism at the BBC is staffed by TV graphics personnel, editors, online designers, developers and coders. They’re faced with eternal challenges and goals of standing out distinctively, being lively and modern and creating understanding.

Here’s a glimpse of the newsroom from what would be the top-left corner of that graphic above:

There’s a challenge the BBC has that you don’t see framed the same way at home. Everyone in the UK pays 145 pounds annually and gets the eight channels, radio and on demand. That drives a lot of programming, Farnsworth said.

“We have to produce content that appeals to everyone. We have to produce content that does appeal to a narrow group.”

One of three identical control rooms the newsroom can use:

Farnsworth showed us a few apps they’ve developed, and then discussed how they’ve used those to create web and television packages. They have some called “personal relevance calculators,” like the “What class are you?” app. They put a reporter on the street and stood up passersby, asking questions from the app which were derived by sociologists work. The data then tried to help the audience determine where they fit in the social strata.

Hurrell showed us the video. “For us what was important is that it worked across (media) platforms.”

And of course all of that is shareable, linkable.

“We think of something that tells a story that’s reusable. That’s where the personal relevance comes back into play. How much property do you have? What’s your health like? How much money do you make compared to big sports stars?

Farnsworth showed us their green screen room and the interactivity they’ve created from it. They put a reporter in there for a piece on “How to put a human on Mars.”

The Mars model was made by a TV 3D designer and the video was a 3D virtual reality design. Farnsworth said that’s something they’re looking to do more of in the future.

She showed us another video of an interactive video using TouchCast — which I have and love and should actually use — that helped tell the Deepwater Horizon story. This was an interactive video, using the TouchCast technology that lets you manipulate things within the video rather than clicking items outside of the video box.

Farnsworth says they’ve done a great deal of experimentation with that sort of thing, but they aren’t very successful. (Yet, I’d say.)

“They’re not very popular because, I think, people don’t know what to do with it, but we want to lead the way.”

Aside: Do you know what I hear from media entities everywhere I go? (No matter what country I’m in … ) “We’re behind in that.” Daily Mirror and BBC would each tell you, for example, that they were late into jumping into the social media pool. Farnsworth essentially told us that today. But now, here, the Beeb is saying they want to lead the way. When a humongous property like the BBC, or some other national/global property, decides to make the imprint, they’re going to dictate usability terms, rather than the users doing it from bottom up. This is going to be fascinating.

One of the boards they use to observe realtime status updates on stories. It is like air traffic control:

She talked about some ISIS projects they’ve built with an in-screen graphic overlay that promotes interaction. This is about “putting users in control versus watching, giving users choices.”

The BBC was a big part of this incredible, incredible, Bob Dylan project. You can’t embed it, and I can’t do it justice, but go watch this presentation by Dylan and Interlude.

That’s an amazing promotional, entertainment tool. But it isn’t all fun and games. The BBC, of course, still does the heavy lifting of traditional journalism and the even heavier lifting of data journalism. Hurrell said they’re crunching huge sets of data, often down the postal code level. She said they’re also doing one global data project each month. One of their recent projects had to do with tracking global jihadist attacks.

And all of this has to be done with an eye toward designing across platforms. Which device for this? Which device for that? Here’s the note that makes you stand up in take note. On the weekends, the majority of the BBC’s consumption takes place on mobile devices. That’s a trend that started in 2013.

An overhead view of a portion of the BBC newsroom:

Then Hurrell talked about #BBCGoFigure, which was one of my favorite things about the meeting — and there was plenty to love. But this is a social first infographic strand, atomized data journalism with just two data points. This is a daily infographic. You can see examples of it here. Why everyone isn’t doing this escapes me.

The plan with social media, Farnsworth said, is that you go to the best place. (This varies by time and circumstance.) The best social media, she says, is one that engenders conversation. (See the #BBCGoFigure note above.)

“During the campaign,” Farnsworth said, “we did a lot more social media because we could see how important it has become.”

And this impacted their TV work. They used similar color palettes for the web and television, and put movable, shareable policy cards into action to help explain the political parties during election season. The interactive cards looked the same as the ones you could see on broadcast.

Then there was election night. It comes once every five years in the U.K., so the BBC pulls out all of the toys. They shot Downing Street and then put it up on their green screen for wonderfully immersive segments on explaining the election results. Here’s a short clip:

Here’s another one from “inside” the House of Commons:

The BBC is a great trip. They had to get back to work, but I want to see the entire operation. You get the sense that this is, perhaps, what a modern newsroom should feel like. And you wonder how many of them there are. Not nearly enough.


19
May 15

Where did we go?

First of all, we took the train, passing by this beautiful World War I memorial:

And by this renovation marker:

Don’t know yet? Maybe this will give you a clue. Here we are!

Still need help? How about this?

Stumped? Well, try this:

Tonight we saw it in the original venue, Her Majesty’s Theatre:

This is the theatre after the show. Keep scrolling:

We enjoyed the show very much.


19
May 15

Speciality public relations, with Clifford Beal

DC-3

Today we visited the Royal Aeronautical Society, where that toy above was on display. We met with Clifford Beal of Strix Consultancy. He’s a Vermont man, by way of Sussex, who is a former editor of Jane’s Defence Weekly and has worked closely with Raytheon for years. Strix is essentially a boutique public relations firm, providing strategy and extra PR hands (primarily) to weapons manufacturers.

This was a great meeting. I took a lot of notes.

Beal talked about the need for building relationships, every boutique firm talks about this. But he has a few points that stand out from the rest.

“My clients create serious products that often have life and death consequences. That sets them apart from other industries.”

One of the challenges they face is that there are often hostile perceptions of arms manufacturers. Historically, he said, that changed briefly during WWII “because that was the good war,” and then reverted. Those perceptions have large and small implications. For example, Beal said that robotics and drones are words that aren’t used anymore. Instead, the acronym UAV is employed. Similarly, the term “cluster bombs” posses an “emotive language that removes credible debate.”

Beal said it can be difficult to conduct a PR campaign or share a message against such a bow wave of public opinion. (Sound familiar to anyone in PR?) But there are good arguments. The economics of scale involved in the weapons industry makes production cost prohibitive. There’s the legitimate self defense aspect that each sovereign government would maintain. And the U.S. and U.K., he says, have the toughest export regulations in the world.

“You can’t just ship to anyone.”

Another challenge, though, is that all of the aeronautic agencies clients are governments. They often have a limited need for public relations at the national level. Locally, that’s a different game. There are work force/private sector concerns, employee safety issues and, of course, the environment. The clients and audiences are demanding different things there. But at the national level the topics are things like costs to taxpayer, cost to profit and safety and reliability.

So we talked about the F-35 boondoggle right there.

Beal looks at from the idea of talking to people directly to help guide or even turn an opinion. This is about helping to influence outcomes, but he’s taking this from a macro level.

“The media is a megaphone to your audience, not an end to itself. It is a conduit to decision makes. When it is done right, it will provide your message from a different corner,” he said.

We got started on a topic of useful tools and he said, straight up, “I wouldn’t include press releases any more.”

And my guess is you’re going to hear more of that in the coming years.

The inverted pyramid and subsequent style still holds, but the delivery has changed. This is about storytelling, which is what we’ve been telling our students for some time now.

Obviously social media is a part of the recipe now, but Beal said that aeronautics agencies, generally conservative creatures, are behind in that realm. There are control issues over subject matter. That makes sense, particularly in those very sensitive areas in which they often work. Because of that, he said, it is often stage-managed and not spontaneous.

Beal is a big believer in a successful network of contacts. This makes sense, it his defined his last decade-and-change worth of work at Strix. But that’s on the B-2-B side. He talked about the B-2-J side, specifically.

“Journalists are now under much more (time) pressure. They’re not going to give you a lot of time if they don’t know you, or until it is a really big story.”

The networking, he said, “gives you an incredible amount of good will. Bring them along from the beginning of the story, not just during the crisis.”

And then we got into the part of the media that applies to people working in aeronautics or corporate banking or non-profit PR. We talked of the many media channels now available, and how that fragmentation presents a challenge. This is the professional material and the guys sitting at home pecking away.

“You have to cultivate, pay attention to them as well … Each channel has its own ways of doing things. You have to tailor your message for each of them.”

Hmmm. Where have I said that before?

That’s not just in how they present media, though, but in what they’re looking for and, of course, what they’re asking about. The trade publications, Beal said “are asking questions that execs might not want asked.” Those trade pubs, though, (Remember, the guy was the editor at Jane’s. He knows what is going on here … ) are “reaching two different levels, but you have to reach both to be effective.”

He talks about a colonel or a major who is reading all of these trade pubs and then flagging the important material for general officers, where some real impact is being made. So if you think of it as middle- and upper-management, you have a lot of people to hit in one message, if you want to be successful.

Also, Beal said, those trade pubs know weaknesses and are being primed by plenty of other potential sources. Broadcasters, meanwhile, are looking for news hooks. Papers, the high end products at least, are often the outlets that “influence decision makers. They are noticed at a high level.”

Generally, though, in journalism, he is encountered by the same industry problems that we regularly bemoan. There is a continual decline in resource knowledge and institutional history. There are, he said, fewer defense correspondents and far fewer war correspondents than once upon a time. So often he is having to peddle Widget 101 to a general journalist. Of course, from his point of view, there are plenty of potential PR wins in a circumstance like that.

We discussed the future outlook of the weapons making industry, including budget crunches, technology costs and increasing development time and technology transfer offset trading. He had a few pointed geopolitical ideas about that topic.

He also talked about entering global public relations, generalized the quality of media across different regions of the planet and, of course, closed with the timeless nugget of crisis communication.

“If something went wrong and it was your fault, say so. Say so.”

So, yes, if there are typos above. They’re mine. Sorry.

Here, now, is another model on display at the Royal Aeronautic Society. And it is not a Manriot plane, but actually the Fokker Spin.

Fokker Spider


18
May 15

Paris, part three

From the top of the Arc, you can see the Russian Orthodox Church, Parc Monceau, the Basilica of the Sacred Heart of Paris, the Organs of Flanders, the Church of St. Augustine, the Society of St. Vincent de Paul and the Tour Hertzienne de Romainville. You can also find the beautiful Sainte-Trinité, the Parc des Buttes-Chaumont, the opera house, pantheon, the Sorbonne, Notre Dame and about a dozen more high profile locations.

Click on both of these to open them in a new tab:

Paris

Paris

The front of the Church of Saint-Pierre-de-Chaillot on Avenue Marceau. This version of the church was first built in 1740, but the parish dates back to when this street was a village outside of Paris. (We’re in the heart of Paris, by the way.) The village dates back to the 11th century.

Here’s the Palais Galliera. It opened in 1895 and, since 1977, has been a fashion museum. It was willed as a state collection, then became an industrial art museum and then home to works from mid-20th century contemporary artists.

A few more shots of the tower from various angles:

I walked back over to the carousel to take a few pictures of my favorite items there:

The horses were decorated with real horse hair.

Oh, look! The sunlight changed. No one has this picture:

Crossing the Seine as they were cruising down it:

Looking up the Eiffel Tower’s skirts, as it were:

One of the horses guarding the Eiffel Tower, with the Tricolour from the museum in the background:

This is at the train station, as we were waiting to leave. It was one of my favorite pictures of the day:

I have occasionally made the “last train out of Paris” joke. We were on the last train out for the night:

A cut of lamb I had for dinner on the train. The server pronounced it for me several times. I wrote it down phonetically. I have no idea how you really spell it, though, so I’ll keep it to myself. Point being, I had dinner on a train.

My traveling companion:


18
May 15

Paris, part two

Since we walked 10 miles in Paris today — all in the afternoon, really. We saw some great stuff, too, which is why my afternoon in Paris is being divided into several posts. Enjoy.

We had a heavy snack at Boulanger Patissier on Ave Kleber at Rue de Longchamp. We were sitting on a corner just three blocks from the Eiffel Tower and maybe four from the Arc de Triomphe.

I don’t know about you, but I just don’t think about this sort of thing in terms of “Maybe one day I’ll … ” On those odd and rare and fortuitous moments that something unusual and unique happens, they just happen. And then later in the day or week I’ll look back at this thing. “We did that.”

Perhaps it is more organic that way. If we played a day in Paris and said “And then we’ll have a snack at an outdoor cafe, and eat too much cheese and watch the locals smoke,” that would just seem contrived.

Wouldn’t it?

Anyway, most everything on Ave Kleber looks like this. Here are three photos to prove the point:

And, suddenly, there we were, at the Arc, where they’re flying the tricolour. The monument honors those who fought and died for France in the French Revolutionary and the Napoleonic Wars, with the names of French victories and generals inscribed on its inner and outer surfaces. There is also vault of the Tomb of the Unknown Soldier from World War I. The monument is 164 feet tall, 148 feet wide and 72 feet deep. It was the world’s tallest triumphal arch until 1938. This is the view from Av des Champs-Elysees:

It sits on an island, a very busy piece of traffic furniture. To get to the monument you have to go underground. When you are under it you see messages like this:

Some of the work on the inside:

The next two pieces are seen on the other side of the Arc, as you’d see from Avenue de la Grande Armee.

This is La Résistance de 1814, commemorating the French resistance to the Allied armies during the War of the Sixth Coalition which finally defeated France and drove Napoleon into exile on Elba:

And this is La Paix de 1815, which commemorates the Treaty of Paris:

This one is in the attic, some 230 stairs up, which is part of the unknown soldier monument:

Nearby is this monument of World War I:

Also upstairs was a fascinating photo display of World War I uniforms. The artist, Antoine Schneck shot and produced the authentic clothes and equipment in such a way that each individual aspect is in focus. There is no blurring anywhere, so you have a terrific 2D-quality representation of the real thing. This is merely a picture of that work, so you’ll just have to go along with me here. But to see this 1918 uniform of the 2nd Battalion of the 9th Infantry Regiment of the 2nd Infantry Division (and of the 17 other multinational examples) is almost like seeing the man wearing it in front of you. The American men that wore this equipment fought in Verdun, Chateau-Thierry, Bois Belleau, Saint-Mihiel and during the Meuse-Argonne offensive.

The view from the top of the Arc:

Some of The Yankee’s students:

As we walked back through the tunnel, leaving the island the Arc is on, we met these men. The gentleman on the left is wearing the French Legion of Honor around his neck.

And here we are, leaving the Arc.

In the next, and final, post from Paris I’ll include two panoramas from atop the Arc. Be sure to come back to check those out, and much more!