The past eight weekdays have been packed with two demanding content-gathering missions. As a Communication Associate, content gathering is one of my primary responsibilities, and the main goal of these stories is to highlight the impact that donor funding from UNHCR has had on refugee and host communities. For these four stories, we visited the Kyangwali Refugee Settlement in Kikuube District and the Nakivale Refugee Settlement in Isingiro District.
Identifying the right stories isn’t as straightforward as it may seem. While we know the locations and sectors funded by the donors, it’s unclear who to interview, what visuals to capture, or how to structure the video. This process begins after an initial call with the field teams and donor focal points. At this stage, it’s crucial to align expectations with both the field teams and the donor focal points.
Once we had identified the four stories, logistical arrangements were made. With the help of the field teams, we identified key individuals to interview. UNHCR collaborates with various implementing partners in different sectors, and for these four stories, we worked mainly in the WASH, health, and environment sectors, partnering with Nsamizi and Medical Teams International. As I write this, I’m in transit to meet with refugee translators to assist with writing English subtitles for the videos we’ve produced.
The Researcher Hat
The first role I take on is that of a researcher. To understand the context of donor funding and its impact on the ground, I employ several research methods. This includes reviewing available documents, making phone calls, and holding meetings to gather all necessary data points. These documents include reports, donor proposals, and email exchanges with sector leads. Phone calls often provide clarification on subjects I might have missed.
The Director Hat
Next, I switch to the role of director. Based on the research, I begin drafting storyboards that will guide the visual narrative of each story. At this stage, I plan the flow of the story and identify the key visuals I need to capture. Once I have a clear understanding of the visuals required, I list the equipment needed to achieve them, always keeping in mind the importance of quality sound gear in video production. These plans are either stored on my iPad in bullet points or emailed to my supervisor as text.
The Director of Photography (DP) Hat
Upon arrival on location, I transition into the role of Director of Photography (DP)—also known as the Cinematographer—and take responsibility for the visual aspects of the shoot. In this role, I handle the camera work, decide on shot composition, and collaborate with the director hat decisions to ensure the visual style aligns with the narrative goals.
The Camera Operator Hat
In addition to the director and DP roles, I also take on the role of camera operator. As the camera operator, I’m responsible for physically operating the camera during the shoot. This includes framing each shot, adjusting focus, zooming, and panning as needed to capture the best possible footage. I work closely with the DP to ensure that the camera work matches the desired visual style, while also considering the logistics of each shot and movement. I also ensure the camera stays steady and smooth, especially when shooting handheld or during dynamic action shots. The goal is to capture visually compelling footage that aligns with the director’s hat vision.
The Sound Man Hat
As I’m executing the DP duties, I also take on the role of sound man. This involves recording dialogue, capturing environmental sounds, placing microphones appropriately, and monitoring audio levels. Sound is essential to the quality of the video, helping to create a more immersive, engaging, and emotionally resonant experience for the viewer. I work closely with the director and DP’s hat decisions to ensure that the sound complements the visuals.
The Translator Hat
While the camera is rolling, I also wear the translator hat to interact with interviewees, especially refugees who speak Kiswahili, Kinyabwisha, Kinyarwanda, and other languages. While I’m not fluent, I can understand and have basic conversations in these languages, which helps me ask the right questions and clarify answers with the interviewees. This ensures that the final video is accessible to English-speaking viewers.
The Drone Pilot Hat
For these eight days, I also took on the role of drone pilot, which complements my duties as both director and DP. Using a DJI Mavic Mini 4 drone, I captured aerial shots of the environment, activities, and quarantine centres. These visuals provide a unique perspective and strengthen the narrative.
The Editor Hat
Finally, I step into the role of editor, where I shape the raw footage into a compelling narrative. At this stage, I ensure that the story is visually cohesive and emotionally engaging. The human interest stories for IGAD, Korea, EU-INTPA, and France will soon be ready for release, and I’m excited for you to watch and share them.
That’s all for now. One day, I’ll share some of the unique challenges I face while wearing each of these hats during production.
The End.
#KikoleHati #TukundaneYonna #YesuNamara #2564wd
Tukundane Yonna 
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