A river that needs crossing political and tech blogs - On the political side, there is arrogance and ignorance, on the geek side there is naivety and over- complexity

My videos are on these two youtube channels visionontv 3,832,876 views and undercurrents 22,689,976 views

 

Enter your email address:

Entries with tag video .

Ruffcuts project

An early copy left project I setup while at undercurrents

Ruff cuts MPG1 Video CD-ROM

 

The project is complemtery to the VHS news video; it entails putting lots of roughly edited news shorts and good video clips on to a computer playerbal CD-ROM.

 

  • The CD’s can be freely copied and given away

  • The CD’s can be sold by us and the video producers to raise production costs.

  • They could be used for campaigning fundraising.

 

This is a radical alt-media project using existing simple, universal and very cheap technology. The common CD ROM, entwined with the international video standard MPG, and the web standard HTML.

 

Easy to edit

Basic editing is much easier now. Once you have an editing laptop it becomes second nature to do a ruff edit of any story you cover.

 

DIY media

Of course making something that people will really watch is a little more time consuming and difficult. This project isn’t aiming to be whatchabel in the traditional way. It’s more for the people who were at the action or as a video resource. Also a means of communicating the fact that things you don’t see on tely are going on. People can get one of the actions they were on and of course will also get video of lots of other actions… It’s a stepping stone for people to create more polished and finished pieces for the undercurrents news video.

 

Indymedia Vagabonds

It’s a great distribution tool for an indymedia vagabond with a laptop with a CD burner and a DV camera. Get a long contacts list, a round the world ticket, shoot stories as you go and create and sell CD’s to finances the whole shebang, in the process nurturing the alt-media distribution network.

 

Copy-left and funding

The CD’s would be copyleft, that is, free to reproduce not-for-profit in whatever form. Anyone could create copies and give them away… If they sold them for profit this would break the copyleft agreement, unless they had a fund raising agreement. The outcome of this would be that the CD’s would be free to activists, who would get off the behinds and copy the CD’s (for free) for there friends and campains.

 

Sell the video CD’s for say:

 

£5 unwaged

£10 waged

£40 institutions

 

We would agree to the selling of the CD’s in most circumstances

 

As a fund raser for a good course or project.

If the individual or organization produced one of the video slots on the CD.

With a funding sharing licenses

 

The project becomes sustainable to all concerned because the CD’s can be sold by both the producers and contributors with certain limitations.

 

Free to give away

The CD’s are of course free for anyone to produces and give away.

 

Contributor sales

The producer of each video segment (or for each 5 min) automatically has the right to create and sell £100 ponds worth of CD’s. After this they can sell CD’s on the normal fund sharing bases.

 

Funding sharing

The CD’s can be sold by people who have an agreement with ruff cuts, this will be on a funding sharing bases with 1/3 going to Ruff cuts and 2/3 of the sale prices going to the fundraising organization. This would be around £1.50 for a £5 sale and £3 for a £10 sale.

 

Notes on funding

The “free” contributor sales are limited to stop abuse of the system, with out some limit an enterprising capitalist, who made one piece, could make seruse money out of other people’s work. Why have money coming into the center? After working all my life in the alternative I am very awear that projects tend to disintegrate if the is not a strong focus to what they are doing. For this project to work well we need a sustainable core to the project, from both an infrastructure point of view and the people working on the project.

 

Sustainability need to cover the cost of the technology, Laptop, DV deck, Camera, tapes and Blank CD’s. The replacement cost of the laptop or Camera is around £1500… they will brake or get stolen. Thus need a cersurten level of funding not only to subsist but also to cover replacement cost of expensive equipment. For the project to have a strong core it needs to be abeal to provide the people working on it with a resnebal subsistence’s wage, which they would augment threw what ever other projects they were involved in.

 

Wages

Out reach persion

Offices continuerty

Traning cordenter

 

Video activist training

At the core of this project is not only the means of distribution, but a strong commitment to training as a means of creating content to distribute. If the project managed to create excess funding, that is it makes a profit this would be plowed back into firstly video activist training. This would also be a process of re-distributing the core funding to the producers, as the obverse choice to run the video training would be the very dispersed and embed in there communities producers of the ruff cuts video them self. And secondly to fund outreach screenings to the wider community.

 

Ruff cuts is both a process and a distribution technology that needs to be imbedded in the full breapth of the alt-media and wider globalization moment. Should be a joint project with indymedia? As a means of getting new video stories, fundraising and sharing distribution. But all the problems of working with a disorganization!

 

The basic Ruff Cuts MPG1 CD-ROM can be complemented by the higher quality MPG2 SVCD standard which allows around 40 minits of “DVD” quality video on a standard CD, this would allow more established video activist groups to distribution of more polished full length documenetrys threw the copy-left network.

 

The advantages of the Video CD over VHS:

 

Copying time CD takes around 10 minutes, VHS 1 hour

Similar quality of video

Can fit over 1 hour of video on a CD

Can be instantly edited, rearranged, dubbed or subtitled

Small to carry and cheap to post.

Will play on very widely availably low-speck computers

Will play on any computer platform, Mac, PC, UNIX etc.

Very cheap to mass-produce.

Making them one off with CD-R’s takes about 10 min and costs around 50p with label and cover

Commercially printing them makes them cheap anufe to give away 25p or less.

Sexy – cool image of video CD

Could be distributed threw more traditional outlets? Given away on magazine covers?

 

Advantages of the project for Undercurrents Archive (optional but worthwhile)

 

The undercurrents archive is both a wonderful resores for video activist film makers and a place were the ethical mainstream can get access images and voices from “our” point of view. The archive manages to servie and pay one meager wage threw these sales. The ruff cuts encoding of the MPG1 would bring much new footage coming threw the archive, which if the original producer agreed could be placed in the archive. This would be good both from a historical point of view; it would preserve the history of this alternative movement and from a finatial point of view of the producer and the archive if the video was used in more mainstream ethical productions. The CD-ROM would act as a good shop window for the archive – as the MPG1 video is only ¼ of broadcast resolution anyone who seriously wonted to make money from the video would need access to the full resolution original.

 

The global ruff cuts network

This project at the moment is an English language one, we need to think of other language versions – I prefer languages rather than nations as a means of making divisions, to be discussed during the process of launching the UK (global) model. It is relatively easy to make the Txt on the CD’s multy language, and the with some clever programming subtitles on the video could be made multilingual – that is you could choice the language but this would be a lot of work and commitment which I don’t think is around at the moment.

 

The advantages of the copyleft system

 

It means that any productions using part of the MPG1 video from the CD would have to be distributed under the copyleft system, thus could not be charged for. It normalizes the problem/delight of rampant piracy of the video pieces which exists already with out undermining the fundraising potential of the original producer of the video. It always camera people to feel more secure letting there video out into the world, thus allowing more people to see radical images. It is a positive alternative to the problem of hording lots of dusty tapes unviewed on shelves…

 

It decentralizes the distribution system while allowing some money to come back to the producers. Even if they have to sell the Video CD’s them selves!

 

Some technological aids to the distribution problem of alt-media

 

  1. Ruff cuts video CD project – provides VHS quality video which can be instantly edited or changed, dropped into people own projects. With web links to organization and more info. Have two CD’s finished.

 

  1. Video CD’s simple to use and copy VHS quality video, am in the process of encoding the undercurrents tapes 1-10 in this format. Have done undercurrents 10

 

  1. SVCD’s are 40 min’s of hi-quality “DVD” on a standard CD, a good format for relicesing new documentary’s have Globalization and the media on this format.

 

----------------------------------------------------------------

 

 

A copy left contract (needs to be cutermised)

 

DESIGN SCIENCE LICENSE

 

TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION

 

Copyright © 1999-2001 Michael Stutz <stutz@dsl.org> Verbatim copying of this document is permitted, in any medium.

 

0. PREAMBLE.

 

Copyright law gives certain exclusive rights to the author of a work, including the rights to copy, modify and distribute the work (the "reproductive," "adaptative," and "distribution" rights).

 

The idea of "copyleft" is to willfully revoke the exclusivity of those rights under certain terms and conditions, so that anyone can copy and distribute the work or properly attributed derivative works, while all copies remain under the same terms and conditions as the original.

 

The intent of this license is to be a general "copyleft" that can be applied to any kind of work that has protection under copyright. This license states those certain conditions under which a work published under its terms may be copied, distributed, and modified.

 

Whereas "design science" is a strategy for the development of artifacts as a way to reform the environment (not people) and subsequently improve the universal standard of living, this Design Science License was written and deployed as a strategy for promoting the progress of science and art through reform of the environment.

 

1. DEFINITIONS.

 

"License" shall mean this Design Science License. The License applies to any work which contains a notice placed by the work's copyright holder stating that it is published under the terms of this Design Science License.

 

"Work" shall mean such an aforementioned work. The License also applies to the output of the Work, only if said output constitutes a "derivative work" of the licensed Work as defined by copyright law.

 

"Object Form" shall mean an executable or performable form of the Work, being an embodiment of the Work in some tangible medium.

 

"Source Data" shall mean the origin of the Object Form, being the entire, machine-readable, preferred form of the Work for copying and for human modification (usually the language, encoding or format in which composed or recorded by the Author); plus any accompanying files, scripts or other data necessary for installation, configuration or compilation of the Work.

 

(Examples of "Source Data" include, but are not limited to, the following: if the Work is an image file composed and edited in PNG format, then the original PNG source file is the Source Data; if the Work is an MPEG 1.0 layer 3 digital audio recording made from a WAV format audio file recording of an analog source, then the original WAV file is the Source Data; if the Work was composed as an unformatted plaintext file, then that file is the Source Data; if the Work was composed in LaTeX, the LaTeX file(s) and any image files and/or custom macros necessary for compilation constitute the Source Data.)

 

"Author" shall mean the copyright holder(s) of the Work.

 

The individual licensees are referred to as "you."

 

2. RIGHTS AND COPYRIGHT.

 

The Work is copyrighted by the Author. All rights to the Work are reserved by the Author, except as specifically described below. This License describes the terms and conditions under which the Author permits you to copy, distribute and modify copies of the Work.

 

In addition, you may refer to the Work, talk about it, and (as dictated by "fair use") quote from it, just as you would any copyrighted material under copyright law.

 

Your right to operate, perform, read or otherwise interpret and/or execute the Work is unrestricted; however, you do so at your own risk, because the Work comes WITHOUT ANY WARRANTY -- see Section 7 ("NO WARRANTY") below.

 

3. COPYING AND DISTRIBUTION.

 

Permission is granted to distribute, publish or otherwise present verbatim copies of the entire Source Data of the Work, in any medium, provided that full copyright notice and disclaimer of warranty, where applicable, is conspicuously published on all copies, and a copy of this License is distributed along with the Work.

 

Permission is granted to distribute, publish or otherwise present copies of the Object Form of the Work, in any medium, under the terms for distribution of Source Data above and also provided that one of the following additional conditions are met:

 

(a) The Source Data is included in the same distribution, distributed under the terms of this License; or

 

(b) A written offer is included with the distribution, valid for at least three years or for as long as the distribution is in print (whichever is longer), with a publicly-accessible address (such as a URL on the Internet) where, for a charge not greater than transportation and media costs, anyone may receive a copy of the Source Data of the Work distributed according to the section above; or

 

(c) A third party's written offer for obtaining the Source Data at no cost, as described in paragraph (b) above, is included with the distribution. This option is valid only if you are a non-commercial party, and only if you received the Object Form of the Work along with such an offer.

 

You may copy and distribute the Work either gratis or for a fee, and if desired, you may offer warranty protection for the Work.

 

The aggregation of the Work with other works that are not based on the Work -- such as but not limited to inclusion in a publication, broadcast, compilation, or other media -- does not bring the other works in the scope of the License; nor does such aggregation void the terms of the License for the Work.

 

4. MODIFICATION.

 

Permission is granted to modify or sample from a copy of the Work, producing a derivative work, and to distribute the derivative work under the terms described in the section for distribution above, provided that the following terms are met:

 

(a) The new, derivative work is published under the terms of this License.

 

(b) The derivative work is given a new name, so that its name or title cannot be confused with the Work, or with a version of the Work, in any way.

 

(c) Appropriate authorship credit is given: for the differences between the Work and the new derivative work, authorship is attributed to you, while the material sampled or used from the Work remains attributed to the original Author; appropriate notice must be included with the new work indicating the nature and the dates of any modifications of the Work made by you.

 

5. NO RESTRICTIONS.

 

You may not impose any further restrictions on the Work or any of its derivative works beyond those restrictions described in this License.

 

6. ACCEPTANCE.

 

Copying, distributing or modifying the Work (including but not limited to sampling from the Work in a new work) indicates acceptance of these terms. If you do not follow the terms of this License, any rights granted to you by the License are null and void. The copying, distribution or modification of the Work outside of the terms described in this License is expressly prohibited by law.

 

If for any reason, conditions are imposed on you that forbid you to fulfill the conditions of this License, you may not copy, distribute or modify the Work at all.

 

If any part of this License is found to be in conflict with the law, that part shall be interpreted in its broadest meaning consistent with the law, and no other parts of the License shall be affected.

 

7. NO WARRANTY.

 

THE WORK IS PROVIDED "AS IS," AND COMES WITH ABSOLUTELY NO WARRANTY, EXPRESS OR IMPLIED, TO THE EXTENT PERMITTED BY APPLICABLE LAW, INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

 

8. DISCLAIMER OF LIABILITY.

 

IN NO EVENT SHALL THE AUTHOR OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS WORK, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

 

END OF TERMS AND CONDITIONS

Cheap travel/small screening projector

LED bulbs, cheap lithium battery’s and high power USB charging have changed what a projector is. Its now easily possible to have a full cinematic experience in your pocket and run it for hours on very cheap USB battery’s. The days of expensive, power hungry and fragile projectors are over for all but the most demanding permanent set-ups. The are hundreds of these “micro” projectors available, they vary in quality a lot, here is a review of a good one.

If your looking for a very cheap travel/small screening projector I can recommend this one

ECsee-ES130-Mini-DLP-Projector

Tiny, relatively well made, lots of ports and did I say very cheap.

LED bulb so robust long life and low power.

Plays videos from HDMI, USB thumb drive, micro SD card in many formats (it will not play surround sound audio files). As with many embedded playback devices it can get the aspect ratio wrong this is a normal problem. Will work fine by HDMI with image and sound from a laptop etc.

Used it at a recent all night illegal rave party under a railway bridge to provide background images, plunged into a small USB battery (5000mah) it easily lasted the night on loop.

Fits in your pocket and has a built in battery which last 1-2 hours, charges/runs off standard USB up to 2amps.

Its no were near its rated 800 lumen, more like 50-100 which is normal for a projector this size. You would have to pay something like £500 for a 500 lumen LED projector. Its brighter and the sound is louder if you plug it into a 2amp USB battery/power supply rather than run it off its internal battery.

Sound might be an issue when running on mains power due to hum.

In darkness it creates a large bright (somewhat over saturated) image, like all micro projectors it will struggle to overcome ambient light.

Specification:

Display Type DLP Technology
Resolution 854x480
Highest resolution supported 1080p (this is acturly only 854x480 and will be dowen scaled)
Brightness 800 Lumens (this is not true)
Contrast 800:1
Aspect Ratio 4:3 ,16:9
Built-in battery 3.7V 1500 mA
Focusing Manner Manual Focus,F=125
Image Size 14 to 150 Inches
Projection Distance 35.5cm-430cm(short throw)
Lamp LED Lamp
Power consumption 10W Max
Speakers 8Ω1W
Lamp Life 20,000 Hours
Interfaces HDMI/USB/AV/SD/3.5mm earphone jack
Supported Video Format 3GP(H263, MPEG4) / AVI(XVID, DIVX, H264) / MKV(XVID, DIVX, H264) / FLV(flv1) /
MOV(H264) / MP4(MPEG4,AVC) / MPG(MPEG1) / VOB(MPEG2) / RMVB(RV40)
Supported Audio Format MP3 / WMA / ASF / OGG / AAC / WAV
Supported Picture Format JPG / PNG / BMP
Supported Document  Format TXT
Color Green, White
Dimensions 78*71*24.5mm (L x W x D)
Weight 130g

 

Have been testing it for a week, so far I would say a buy.

7/10 value for money

 

To livestream an event

To livestream the event we have these options:

A lot of our equipment is broken or missing.

Mobile phone samsung note with line in from sound deck. Might have to use with the mini mixer with 12v battery for sound to work. Would need long USB cable (or big USB battery) for phone and tripod and holder. Stream this to any basic live streaming account. Could use the oneplus one but think the sound adapter will not work.

  • This is simple and will work, but basic.

Acer Silver laptop running wirecast with USB HD webcam on Tripod, stream this to youtube. Can have a second camera in vire mobile (oneplusone) IP camera but issues with audio sync on IP camera. Phone holder + big USB battery

  • This is better but our equipment is under speck and needs a windows re-install to increase reliability

Black thinkpad T410 laptop, FireWire to DV camera Tripod sound into camera (we don't have a working DV camera), with USB webcam as second camera + ip mobile if needed.

  • This is the best and most reliable working setup but we don't currently have a DV camera with working firewire output. It is also based on obsolete technology so not looking forward.

The best setup would be medium power gaming laptop with 2-3 usb HD cameras with remote control and zoom. Run wirecast and stream to youtube. would be useful to have a mobile hub to help the internet and ip camera to work. Budget for this is 2-3K

Update

Have a 3 camera setup working, one HD USB webcam and a USB to oneplusone phone and will try a wifi IP conection to a samsuneg note for the full setup. Now youtube streaming is not quite working yet, next step.

Outcome

The audio feed from the venue failed and they could not fix it so this is from the mic on top of a webcam.

I sold the protest video for this ecotricity advert

I didn’t actually see the money just put it back it into visionontv expenses account...

Don't squeeze the last gas #FrackFree

With fracking companies circling the British Isles, it's now more important than ever to make a stand.

Ecotricity guarantees its gas is frack-free which, along with its 100% green electricity and ethical pricing, is a true alternative to The Big Six energy companies. 

http://www.ecotricity.co.uk/frack-free
http://www.facebook.com/ecotricity 
http://www.twitter.com/ecotricity

What's the NUT strike about?

 Interview on the day of National Union of Teachers' strike 26 March 2014. Hamish Campbell interviews a teacher from Barking and Dagenham. 

http://antiacademies.org.uk/
http://grassroots.visionon.tv

(S)hell - Last minute filming of artistic direct action

DRAFT (needs a spell check)

The was little preparation for the filming of the action beyond asking a film-maker a week before the event. No information on what the action is or were it is, I come an hour early to the meeting place with equipment I think I might need.

It turns out to be a activist quire taking over the auditorium of the Shell sponsored Royal Festival Hall to sing a political song to the huge ordnance before the main concert comes on.

OK I have a a load of extended battery’s, good small qaulerty HD video camera, a short directional mic, a MP3 recorder and a good mobile phone with HD video camera.

Decide to place the MP3 recorder on the body of the person sitting in the middle seating of the quire to get soled sound. set-up the video camera on a fixed shot in front of the group then hand film with the mobile phone, with short mic to make shore I have cutaways/reaction shots and close ups.

Half an hour before setting off to shoot I discover the a second camera man is coming to film as well, he will be shooting stills with one camera and long shot video with a second stills camera in video mode. I would have liked him to take and use the good quality HD video camera as he is seated across the stage so would be in a good position to use the zoom – as nearth of his stills cameras have a good zoom. The issue is that he would not be formiler with the video camera, this together with shooting stills at the same time means this option doesn’t work out.

With the run though of the song it turns out the is no time/focus to find and attach the MP3 recorder to the central quire member, it ends up in my pocket. While looking at the seat allocation it seams its going to hard to setup the video camera on a fix shot as the is nowhere to put it, only a drop onto the stage.

Arriving at the venue, the is a reluctances to bring out the cameras, mics, cables etc. as this would bring attention to the nerves group of activist am sitting next to. I have no idea when they are going to start singing, I don’t think they have a common agreement eather (:

Looking around the is no place were I can get good video framing, in front of us is a row of narrow occupied seating then a drop to the stage, off to the side is more close set seating full of ordinary ordnance members. Behind me is a exit and a bored looking usherette.

As the humming of the song starts, I turn on the MP3 recorder and drop it on top of the quire members bag next to my seat. I shoot some establishing shots of the ordnance and auditorium using the mobile phone as if it were a stills camera.

The is no time to setup the video camera so start the mobile phone video rolling, soon discover that its to dark for a good image, but the song has started and I would miss half of it if I switched to the video camera that is still in my bag. Keep the phone camera rolling but am much to close to the action in my seat, even holding the phone arms leagnth away, this also creates a lot of bad wobble as it has so image stabilisation.

Hoping that the second camera man has his camera on and steady, after 45 sec I move out of my seat and across the isle and squeeze into the next row to get a wider shoot, The usherette lucky ignores me, though I get hissed at by the people am obscuring, they quieten down when they realise am filming. Am off to one side so still don’t have good framing even when holding the camera out at arm length over the stage (more wobbly cam). Its the best I can do, as the banner drops (surprise to me when it happens) I capture the audience clapping, then the group of young people behind me join in with clapping, spin round to film them. The song comes to an end, and the quire shuffles out sing as they go. I interview a usherette who is supportive then the theatre manager who is not, she puts her hand over the lenses and pushes me out of the theatre. It was all over in 3 minutes, a very successful fun action.

We retire to a café to exchange video, Hew missed the first 30 seconds due to focusing issues but after this he has a good wide shot and some nice cutaways, his sound track was also useful as both my mics were to close to the singing to capture the wider auditorium atmosphere and the clapping of the main audiences. I lay all 3 mic tracks over each other to get a fuller sound and to try and hid that the MP3 recorder was accidentally set to a fixed sound level rather than AGC so suffered from clipping of the sound during load bits of the song. Towards the end of the song Huw dose get into a discussion with his naber which is recorded onto the track , I have muted it down but you can still hear it on the finished film (:

I have to go and film a NUJ conference early the next morning, that’s another story (;

When it came to the edit I was in a rush – set the project file to 25FPS which is standard European video format, the editing package crashes every 5 min becouse of the bad formating of the stills camera video, produces a ruff edit, drop some draft titles over it, sleep on it then tweak and send off to the group – I still do not know what stories they wont to tell. Would be happy to just do a ruff edit and get it out as I have all the NUJ conferences stuff to do, but it was a good action and the is a good film in there so give them the option of a more polished piece. Come back to it after a few days, humm the sound is auta sync, looking at the sources files the mobile phone video is at 29.97 FPS and the stills camera video is at 23.976 FPS and the project is at a standard 25 FPS no wonder we have sound/video sync issues.

I had synced all 3 sound tracks up then locked them in place, then cut up and moved the video around... to do the draft edit, this was now not easy to fix and the more editing I did the harder it would become. I tried changing the output frame rate to 23.976 which didn’t help then to 29.97 which didn’t either. In Adobe Première you cant change the project frame rate for a project after you set it, so what to do. Looks like I have to re-do the edit from scratch (render both badly formatted video's into one good to edit format before starting). Or live with some video/audio syncing issues. Other matters were pressing.

How to film this action well

Be in on the planing of the action, and build camera angles and sound recording into the action from the start.

Have 2 people filming:

* One - long shot on mini tripod, then second hand held camera for audience reaction mashore of good auditorium sound on the first camera.

* Second - fixed action sound with recorder in quire and mobile camera/sound for medium/close ups.

Good to have a 3ed person responsible for makeing shore security dose not interfere with filming/action.

Have redundant sound recorders in the action. Make shore all equipment configured and is working at same frame rate and timing.

This happens nearly every day at Balcombe - Snatch Arrest

This happens nearly every day at Balcombe. This film was shot and edited and uploaded in 1 hour at the camp media center all on solar power.

Snatch, Snatch, Snatch!

3 videos of police snatch's from Balcome Protection Camp this morning. Already there have been 4 arrests today. Action began with with Nicky, a local resident, locking herself on to the gate to prevent deliveries to the fracking site. Then they started on the people slowing the trucks.

Snatch!Snatch,Snatch!Snatch,Snatch,Snatch!

Frackoff! at #Balcombe

I have been dowen at Balcombe camp doing some media http://grassroots.visionon.tv/fracking

Find out more about this http://greatgasgala.org.uk

These incredibly gifted and experienced cooks make sure an action camp never goes hungry.

Trade union - 2001 and undercover police

This is 3-4 video reports in one. I made them for FSTV a US satellite station and show the wide spectrum of demonstrating post Genoa. I think the is still one report missing will post it when I find it.

My thinking then as now is to show the tredtional events, walking from A-B in a radical way, but to concentrate more on the fring more alternative party and protest movement.

Brussels 2001 - December 13th, saw possibly the largest ever demonstration of trade union strength across Europe. Well over 100,000 people marched through the capital of the 'Europe of Profit' under the slogan, "Europe: it's us!" 

This film covers the wider demonstrations on that day.

Made by http://hamishcampbell.com
http://www.undercurrents.org
http://visionon.tv

Showing 1 - 10 of 22 results.
Items per Page 10
of 3