DIGITAL ILLITERATES

Let's recap.

2003 I started working on a tv program of political and social analysis. 10 years ago, i uded to carried a backpack with a U-Matic recorder accompanying a cameraman in an election campaign for Mayor 1993. Before turning 10, 1983, visited the premises of an advertising company.

Let's recap.

2006, began to be part of a TV program. As producer. 10 years later, 2016, I took 5 years as a producer of another TV show and director. 20 years before 1996, I began to write the thesis for an advertising agency. Intermittently by economic and personal crises made everything dilates until 10 years later.

Let's recap.

1986, in one of the broadcasts of the World Cup in Mexico, then showed me in the eyes, the scenes of the video, that after thirty years still keep repeating. The camera tracking. The slow motion with the chamber floor. Every detail. The gesture of the player. The editor extraordinary ability to cut at the right time and to increase the sense of glory, with precise audio. People in the stands screaming goal of Maradona.

Let's recap.

The first images we saw in Santa Cruz, from the powerful signals and University Television Channel 7, were Brazilian novels, like the Beloved. Or transmitted Trasntel games. Germans playing a kind of street 7. The family Ingals. The sequence of the small Heidi in the Swiss Alps plane. Etc. All that. The entire method. Consumed frame by frame. Assimilated like a mental Storyboard. Each image was etched in my memory, in high definition.

Let's recap.

Audiotape was the most complicated. Everything is recorded separately. The film and audio. They were two separate things, that then joined in the editing table. Analog ship that took up almost a quarter of 2x4. Lights, totas. 1000 watts. Tripods weighing 20 kilos. Bags with cables for the lights, the microphones. The bouncers. The insulating tapes. The batteries. These huge boxes of parts around. The Fresner. The diffusers. All. It was a world apart. Cutting edge technology. Investing in all these teams meant at least $ 50,000. In those days, it was a lot of money. Production was almost artisan. Therefore, the art protruded more than the technological. The letters. The typeface was offset printed and then placed in the videos. Just the Macintosh did his work in a small white box. Everything melted in blue. The chroma. The giant set, grills harsh lights. Cables that looked snakes crawling to join a megacámara. Balance blank. Sound test.

Recapitulating.

1983. He drew a cover of a book where the main drawing was Jesus caressing the head of a child. A sheep lying at his feet, twisting his neck and looked attentive. White robe. bushy beard. Long hair. Jesus was sitting on a stone. But something was missing. I was putting together my first storyboard. I edited in seconds. I looked and compared with the original. I saw him draw again and again. Until I got movement. As Walt Disney cartoons.

1990 edited the audio. TDK cassette, 60 minutes. Selected track. The correct insert. TDK recording another, patiently a cassette. NLE. Voice-over. Transitions included. Work that could last most of the afternoon and into the night.

VHS recorders 1993. Two, who joined a TV monitor that served to see what happened and recorded. The issue has always existed. 30 seconds of a pan. From left to right. From up to down. Zoom in and zoom out. Until the planes came out and joined themselves. Because the method allowed save time in editing.

2003. comes the digital age. THE U-Matic was shelved. Only to record files. Adobe premiere came into my hands. What a bless. And asked how it is used. Again the method. The midplane, close-up, extreme close. Aberrant. Transition. White Balance. White and black. Audio and video. Everything in software that was all you need creativity to flow. You could move the letters. Move the image to place one decided. Change colors. Give sequences that break the method. That served. And then came the After Effetcs. Post Production Program Editor to join forces. And audio software. Which it organized each audio at the same level. He came democratizing audiovisual production.

Recapitulating.

Audiovisual production. It was a market where few had the technical ability to create content. Then gradually he was closing the gap between those with production equipment and those without. Of those with ideas and those who had the money for productions. Today, with everything we have. Practically, access to production A / V can be performed worldwide. With a little excitement, you can get a handle on many digital editing programs. Create videos.

Recapitulating.

Now, the important thing now is not only who has the best equipment; but who has the best ideas and who leads them to the reality at the lowest possible production cost. Every minute is Upload thousands of minutes of videos to Youtube. In all social networks. The king is the video. And whoever can not translate their ideas into a video. They may be the next illiterate. In a twenty-first century it is bringing us rapidly to an increasingly hyper-realistic future. Breaking fiction. Challenging the paradigms. Every second is creating something. Those who do not have the ability to create content and manage them efficiently to add value to their products or brands, may come to be relegated, do not share much of the cake multimedia business and lost in the limbo of digital mediocrity with an analog mindset.

ALMSGIVING OUR DAILY

There are 100 thousand Bolivians turning into the city. I speak not of individuals but of Bolivian official currency of Bolivia. In Santa Cruz de la Sierra, every day - I think - a hundred thousand Bolivians are delivered. They passed from one hand to another.

Hands are next to the sidewalk. The other, are gripping the steering wheel. Or the portfolio. Or are passengers. Donations walk. Those that are made every day. From one moment to another. They are made out of pity. For charity. By Catholic obedience. Religious. State of mind. Whatever. It does. Some take advantage. Others really need.

Among those who reach out they are: the elderly. Elderly people who are on the streets begging. They are supported by a cane. For wrinkles on your face. By the disease that they note. They slow roads. They attach themselves to vehicles almost crawling. They go on foot. Van wheelchair. They are lying on the sidewalk.

The others are those across timeline. These are the children. Girls. That subject for a daily trance, poke their faces through the windows of vehicles. They look inside. Like another world. They poke your nose. Show their dark circles. His sad eyes. slowly away. But they leave wet glass. Always extend the hand. Blurred smile. The look is somewhat disturbed. They do not understand why they do, but they do. Many of them play while asking. Gives the green light and return to the stick and land. The tuja to hide between parked cars. They are half-naked. With pancita the air. With the snot that fall through the mouth.

The disabled. They also leave open hands to drop them a couple of fifths of that cake over a hundred thousand - imagine that you are a hundred, may be more-some are scattered in wheelchairs. Others are held on crutches. Walking devoid of rhythm, they have no essential parts of the body to work. They are disabled. Defeated his main weapons. Without hands. Without legs. Without eyes. They walk the streets. Zebra cuddle up to the steps. There they feed their illusions. Corrupt themselves. Forget their misfortunes. They are tempted by easy money. They are asking survive pity of others. Because being disabled for some it is the end of the world. Not for everyone. If for some who see an opportunity to touch the heart and pocket of citizens.

They are fools. Or those who are fools. They talk and shout. Schizophrenics rant and accelerate the passage of many people who encounter them on the sidewalks. Many are not. They strive to write up a sign. A disguise himself blind. A sold as paralytic. Sick. Many families live on that. Others act to give them grief and quintero take out the coins. It is something aberrant, they pretend to be sick in the head for no remorse for them then when they touch confess and ask for forgiveness.

One hundred thousand Bolivians. Or hundred thousand dollars. Or a hundred thousand intentions to make money every day.

(Clarified that the data is purely fictional, untested. It is an approximation of the number of times we donate each day, weight for weight, people who come to us on the street to beg. Personally I only give to people the third Age)