VR is not only about techniques and different ways to present a story, it is also about the story itself. This is why we talked to Jens Franssen, war and conflict correspondent for VRT, the Belgian public broadcaster, who took part in the filming of a 360° documentary on war oil in Syria.
 
What has been your main focus while covering moments of the recent refugee crisis?

My main focus has been on the conflict in Syria and Iraq, as conflicts are the main drivers of the refugee crisis. As I am specialised in armed conflict and the Middle East I kept travelling to these regions.
 
What is the greatest risk when covering such a story?
 
Working in Syria, as I did every year since the war started, comes with risks. However, I try to minimize them working in areas where the frontline is more or less stable, with an experienced crew and relying on trustworthy local fixers. However, working close to the frontline is risky.
 
Do you think broadcasters are actually managing to make the public understand what is going on?
 
At least at VRT we invest heavily in covering the Syrian conflict and the refugees crisis. We have covered the refugee crisis from within several countries online, on radio and on television.
 
What are the dos and don’ts when it comes to the theme of refugee children?
 
When it comes to refugee children we follow a very strict code of conduct that applies on all children broadcasted. We work with permission from their parents or legal representatives and  respect their vulnerability. In no way they shall be presented in a pejorative way. 
 

And now let’s talk about virtual reality and the 360° video you shot recently in Syria.
 
Is VR the next frontier of journalism? How feasible is it technically, cost-wise and ethically?
 
It is a fascinating and challenging new way of reporting and telling stories. Technically the material is still on a consumer-level when it comes to quality. Ethically I do not see many differences, as code of conducts and the basic principles of journalism remain. Cost wise VR is expensive for limited users, however, if one can make VR as an ‘extra’ to television and radio reporting, then it can already be more cost effective. For example in my case I went to Syria to report on 5 years of war for television and radio. Shooting VR was an extra aside.
 
What are the pros and cons of immersive experiences when it comes to news?
 
The cons are that VR is still evolving technically and that the hardware is not on a  ‘professional’ level. The way of storytelling is different and sometimes challenging. 
On the pro side VR is a whole new form of storytelling. I am a bit afraid we will see a lot of spectacular VR movies lacking any type of real story. I believe stories are made by people. In that way (some) old rules of storytelling will hold their value.
 
When does it get too much?
 
Deliberately, I make my stories very slow, compared to radio or television stories. Thus the viewer can take his time to explore. I try to avoid images where to many things happen at the same time, unless it is part of the story.
 
What could VR mean when it comes to telling very charged human stories, like the refugees and migration crisis?
 
VR is a wonderful technology to tell human stories. In that way, even when it comes to refugees of the migration crisis, it can be a wonderful way of telling stories. If done well, one could take the viewer into the situation.