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“I edited the Yugoslavia stories in Belgrade because I was editing in Serbian,” says Fox. “The translation was done on the spot as we were interviewing, and I used that as my guide. But to do the fine editing, I had to have my translator there because the Serbian is matched up exactly with the English.”  Getting Closer to the Subject Fox—still-photographer turned videographer—has been shooting and editing digital video for a year and a half. During this time, he’s found the latest digital technology to have distinct benefits in bringing him closer to his subjects. “It’s always hard approaching people with a video camera,” he says. “Smaller DV cameras help. Working alone or with a small crew makes it easier to build a relationship, to build trust. It’s tough to do that when you have a big camera and a multi-person film crew, with a sound person and a light person, and so on.” The sentiment is echoed by Kennedy. “We can do all of this with relatively small teams. Travis was able to do his Yugoslavia project as a one-man band. And he got into the story in a deeper way than networks would have been able to with a bigger crew. That’s the essence of storytelling anyway, removing the barriers and the filters that separate you from the subject and the user. You sort of step out of the middle and allow the two to confront each other.” A Place for Features In a time when both network TV and news websites are dominated by “talking head” breaking news delivery, WashingtonPost.com provides a place where striking and thoughtful pictorial features are considered as much a priority as their news stories. The staff carefully designs its stories to deliver a rich experience for the viewer, often juxtaposing multiple forms of media on a page—such as QuickTime videos and QuickTime VR panoramas—that work together to tell a complete story. With a small staff and news happening all the time, though, Kennedy says that planning and executing in-depth features can be a challenge. “What we’re trying to do is balance on a daily basis the demands of serving the breaking news beast, while at the same time allowing enough room on the team to create these other kinds of pieces that are more thoughtfully executed,” he says. But no matter what the nature of the story, Kennedy believes a passion for quality photojournalism is the key to great work. “For us,” says Kennedy, “there’s a real passionate belief in the power of sound and image as a means of transmitting information. I look at it very simply that our storytelling is intended to take people beyond the boundaries of their own life experience and put them in touch with the forces that are shaping the world on a daily basis.”  Tune in to the Final Cut Pro Revolution.
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