Abstract
At a time when TV and online journalism embraces more moving images filmed from drones than ever before, this article seeks to explore the thoughts and actions of those who produce them. It builds on earlier research into how aerial images impact on the viewer through the lens of ‘quality journalism’ (Adams, 2018). It investigates how drone operators are involved in the journalistic process, what meanings and effects they seek and who controls their work in a market-driven environment. Qualitative analysis was carried out of seventeen in-depth interviews with drone operators, journalists and editors working in UK and around the world. Data revealed a high degree of creative freedom among the operators, a passion for using drones and some desire to immerse and impress the viewer. It showed that aerial images have become paramount in video journalism amid market pressures to find ever more sophisticated and ‘cinematic’ shots. Interviewees felt drones had been “good for journalism,” by providing raw data, exciting new perspectives, context and story-telling techniques and “space to think.” The article explores the significant yet often unplanned contribution to the journalistic process of the drone operator and recommends more is done to increase understanding between journalist and pilot, such as providing training courses designed to teach quality drone journalism, as the media approaches ‘peak drone.’
Highlights
As online and broadcast journalism embraces more moving images filmed from unmanned aerial vehicles (UAVs) than ever before, it is timely to deepen the research in this field by investigating the thoughts and actions of those who produce the shots
The article is based on in-depth interviews with operators based in the UK and the journalists they work with in order to try to answer four key questions: what the current role and status of the drone pilot is, how they are involved in the journalistic process, what meanings and effects they seek through drone-filming and whether any of their work is threatening the quality journalism needed for a functioning democracy
The article reveals the importance of the initial stage of producing drone journalism: the operator’s often private and unpredictable experience of discovering the pictures, when their creativity, skills and imagination are at play as they experiment with the technology and test out possibilities
Summary
As online and broadcast journalism embraces more moving images filmed from unmanned aerial vehicles (UAVs) than ever before, it is timely to deepen the research in this field by investigating the thoughts and actions of those who produce the shots. The newsgathering carried out by drone operators, as by any camera person or photographer, is bound to involve a degree of editorial decision-making which must affect the journalistic output. A multiple case study of audio-visual news and feature items from several different countries (Adams, 2018) identified thirteen hypothetical perspectives or ‘narratives’ in aerial filming which potentially affect journalism These included a diagnostic view, a sense of global connection, drama through movement, a feeling of (unrealistic) power, suggestion of surveillance, beauty or art, unnecessary gloss and occasionally the immersion of the viewer. The article is based on in-depth interviews with operators based in the UK and the journalists they work with in order to try to answer four key questions: what the current role and status of the drone pilot is, how they are involved in the journalistic process, what meanings and effects they seek through drone-filming and whether any of their work is threatening the quality journalism needed for a functioning democracy
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