I just realized that I forgot to keep posting my summer multimedia videos while I’ve been working on my fall internship at Minnesota Public Radio News as a visual intern.
The video is the multimedia piece made out of of the Magnum photographer Chien-Chi Chang’s photography essay project—Chinatown.
Caught in the Crossfire is a multimedia project produced by The Los Angeles Times staff photographer Barbara Davidson and the team from the paper. This is a big and complex story with long-term in-depth reporting. Davidson won the 2011 Pulitzer Prize Feature Photography with this project.
First of all, the L.A. Times has provided enough information of what this story is about with the text. And the content of the project is well-produced documentary with intimate stories of each victim and their families. The photographs and the video interviews are incredibly powerful and effective. Audiences can see the subjects’ honest emotions and feelings. By using black and white photographs and videos, Davidson has successfully created the serious tone of the story. From the combined body of works, audiences can also get the photographer’s message across. Davidson has included variety of stories in this project—this is what adds to the power of photography and videography to raise public awareness.
Besides the content of the project, it is highly interactive as well. The layout is simple and easy to follow. The web designer put the multimedia container at the very top, so audiences would know this is a multimedia project immediately. The L.A. Times also provides a text story to give the audiences some information about the multimedia. The shell separates the main video from the individual stories. The main video tells the central idea of the project, and each individual stories has a main page that contains its main photo and a short description of the story. The audiences can decide when they want to play the video or photo slideshow, and they can also choose to watch the video version or the photo essay version of the story. Moreover, not only the L.A. Times has provided a comment section for the audiences to give their feedbacks, the newspaper also has provided a wide selection of social media sites for the audiences to share this project. However, it would be even better if the L.A. Times can provide an embeded link. This multimedia project has provided a well-performed fusion of text, photographs, and videos.
Pullman porter and family patriarch
by Los Angeles Timeshttp://www.latimes.com/news/local/la-me-pullman-porter-ss,0,1087938.htmlstory
The audio slideshow of Lee Wesley Gibson made by Los Angeles Times is a well-structured multimedia story. The three-minute-long story focuses on the life of the 100-year-old Gibson, who is the oldest former Pullman porter alive. The story creator used three subtopics under the main topic of “the life at 100,” which are: early life as a porter; his family; his loneliness and his new company. The author used Gibson’s sound bites to connect one subtopic to the next, so the story moved smoothly and naturally.
One of the strengths of this story is the photograph. From beginning to the end, the audio and photographs match each other. Even, when Gibson talks about his wife who passed away in 2004, the photographer used photographs of Gibson holding a portrait of his wife, and their family portrait to cover the lack her present in the story. And the combination of portraits and documentary photographs, and varieties of tight or wide photographs make the story more interesting.
I think this story has a clean audio. And his daughter’s sound bites as a secondary source not only tied the story together, but also enhance Gibson’s importance to their family. The story doesn’t have too much natural sound, only at one point we hear the singing at the funeral. But I don’t think that is a problem because it stays true to the profile story.
Although I think this is a good audio sound slide, but I find the story being too long. I’ve started to lose my interest and my attention during the singing in church, which is two-thirds through the entire story. Maybe the author could cut something out of the context.