Kenya Aid video campaign / by Glenn Dixon

It's an incredible privilege to share the first video in a series of three I made for Kenya Aid, an Australian charity supporting health and education initiatives within a specific community of western Kenya. I was introduced to Verity and Ryan Snaith through Magda Newman, a mutual friend and Kenya Aid board member. In our early conversations, Magda described Kenya Aid with an infectious enthusiasm. I was captivated by the unique and unexpected stories and wanted to help share them.

Filmmaking process:

I conducted the interviews in Sydney last year at Kenya Aid’s ten year anniversary dinner. As Onesmus was in Australia for the event, it was a perfect opportunity to interview the stakeholders in one location. I came away with a rich story told through interviews but lacking vital contextual visuals from Kenya. In January of this year, Ryan visited Shikunga and captured video footage. I integrated Ryan’s video footage and existing photographs from the archive with the interviews I filmed in Australia to create the films.

My initial plan was to make one video that communicated the ‘why’ and ‘what’ behind the Kenya Aid initiative. A video that could be screened to sponsors and volunteers to build and strengthen the community. I soon realised that forcing these complex stories into a single video did not do them justice. I decided to make one video that introduced Kenya Aid then explore the health and education initiatives in depth via two subsequent videos. 

Visual considerations:

Kenya Aid's photographic archive contains images from trips spanning over ten years. Each visit was photographed by different people using different cameras. As a result, the images are varied in style and technical specification. An early temptation for me was to colour correct the photographs and footage so they felt like a harmonious portfolio. I soon realised the power of this story lay in the fact that a small group of people were meticulously addressing problems within the community over a long period of time and the ad-hoc nature of the photographs spoke to that. The fact that photographs and video were captured by volunteers with the technology at hand strengthened the story. 

Sound design:

To convey a sense of place, I used as much audio from location as possible. Mixed in behind the interviews is location audio that Ryan filmed using the onboard microphone. I found two pieces of music by composer Abbas Premjee that added an energy to the story while still grounding the characters in a place. I combined a non-diegetic sound with a ‘dip to black’ transition at the point where two photographs meet. This was to invite the audience into the cameras viewfinder the moment the picture was taken, as if they were the one taking the picture.