:00:10. > :00:13.He was shot by police who were trying to break up the riot. Now on
:00:13. > :00:16.BBC News, we pay tribute to the freelance journalists who risk
:00:16. > :00:25.their lives to bring you pictures from the world's most dangerous
:00:25. > :00:30.places. We heard the militia smashing doors, breaking windows
:00:30. > :00:34.houses... They shot at me as well, they targeted us. I saw people
:00:34. > :00:44.being crucified and I wondered if that what was what was going to
:00:44. > :01:05.
:01:05. > :01:12.happen to us. This is Al-Qaeda in the Arabian
:01:12. > :01:16.Peninsula. They control a whole city. In order to get these shots,
:01:16. > :01:20.way.rm's way. There are not enough coffins,
:01:20. > :01:25.so men are wrapped in white shrouds. people
:01:25. > :01:31.taken at great risk in remote and window
:01:31. > :01:38.window on events that affect our lives. The lookout warns that the
:01:38. > :01:48.militia was on our street. These are some of the best pictures of
:01:48. > :02:01.
:02:01. > :02:11.the year. All shot by freelance video journalists.
:02:11. > :02:35.
:02:35. > :02:39.We step behind the camera to those who were filming on the front lines.
:02:39. > :02:43.freelance journalists nominated in the categories of the Rory Peck
:02:43. > :02:53.Awards. The judges look at more than 70 entrants from around the
:02:53. > :02:54.
:02:54. > :02:57.world. They were founded in the name of Rory Peck, a British
:02:57. > :03:01.freelancer killed by crossfire in Moscow in 1993. His memory lives on
:03:01. > :03:11.it in the trust which works on behalf of freelance camera crews.
:03:11. > :03:14.
:03:14. > :03:16.winners. of London went up in flames in the
:03:16. > :03:26.summer of 2011, Jason Parkinson captured the widespread rioting
:03:26. > :03:27.
:03:27. > :03:30.sparked by the shooting of a young black man by police. As the
:03:30. > :03:40.situation quickly deteriorates, Jason rushes to the north of the
:03:40. > :03:46.
:03:46. > :03:51.capital. The first thing that struck me was the amount of debris
:03:51. > :04:01.in the streets and how much was on fire. It felt as though society was
:04:01. > :04:06.
:04:06. > :04:09.starting to collapse. Rioters have vented their anger at police. There
:04:09. > :04:12.were reports of journalists being attacked. From Tottenham the unrest
:04:12. > :04:16.spreads. Jason is around, filming the turmoil. I think the most
:04:16. > :04:26.dangerous point for me was when I was behind the police line and
:04:26. > :04:31.
:04:31. > :04:36.there was a huge volley of rocks and other missiles. There were
:04:36. > :04:39.several times that I caught on film that I thought we were all going to
:04:39. > :04:42.have to run, including the police. It seemed as though they had lost
:04:42. > :04:46.control. But their tactics seemed not to work. The judges applauded
:04:46. > :04:48.Jason for his courage in getting footage from both sides of the
:04:48. > :04:51.police lines. Stories from the Middle East
:04:51. > :04:56.feature prominently in these awards. Footage from Egypt earned Roddy
:04:56. > :05:00.Hafiz a finalist nomination for news. Thousands turn out in Cairo
:05:00. > :05:10.to protest after more than 70 football fans are killed in clashes
:05:10. > :05:11.
:05:11. > :05:20.the previou the previou convinces h convinces h to give him a
:05:20. > :05:29.camera and starts filming for the first time. As violence engulfs
:05:29. > :05:39.downtown, he puts himself in the I am watching the throwing of the
:05:39. > :05:41.
:05:41. > :05:45.rocks and looking at the tear gas canisters. It happens fast but I am
:05:45. > :05:49.still able to hold the camera steady and look around. Amid the
:05:49. > :05:59.chaos, his main concern is staying forces
:05:59. > :06:04.
:06:04. > :06:08.You can say that they would shoot energised.
:06:08. > :06:18.energised. I felt that what I was witnessing needed to get to the
:06:18. > :06:19.
:06:19. > :06:23.outside world. The winner of the filmed
:06:23. > :06:33.filmed in Homs as the rebels came under fire at the beginning of the
:06:33. > :06:34.
:06:34. > :06:44.year. Homs has become one of the most dangerous places on earth.
:06:44. > :06:51.
:06:51. > :06:58.Mani follows soldiers of the Free firefight. He finds himself at a
:06:58. > :07:02.headquarters. Rebels go upstairs to flush out snipers. I knew the
:07:03. > :07:07.rebels could go upstairs and I had to be careful to be protected by
:07:07. > :07:12.the wall. I had to not get too close if they had thrown a grenade
:07:12. > :07:22.been... been... That could have been
:07:22. > :07:23.
:07:23. > :07:27.extremely dangerous. But they did not. He left teaching three years
:07:27. > :07:30.ago and became a photojournalist. This is his first time filming on
:07:31. > :07:40.assignment. I was terrified, like zone.
:07:41. > :07:42.
:07:42. > :07:52.zone. It is a challenge. As the bullets fly, the fighters that he
:07:52. > :08:01.
:08:01. > :08:05.The rebels turn the camera on Mani, as they travel through Homs, his
:08:05. > :08:15.escorts make fun of him for lying down. It is a moment of levity
:08:15. > :08:34.
:08:34. > :08:36.judges judges said that it was the unique
:08:37. > :08:46.combination of combat footage and interviews that set his footage
:08:46. > :08:56.apart. For the former primary school teacher, it is the suffering
:08:56. > :09:01.
:09:01. > :09:05.of children that affects in the most. One of the most heartbreaking
:09:05. > :09:12.moments is the moment when I have to interview children who had just
:09:12. > :09:16.been very badly hurt from a mortar attack. They are going through a
:09:16. > :09:26.very harsh trauma. You must ask them questions are so that you can
:09:26. > :09:28.
:09:28. > :09:31.tell the world what is happening. What the situation is. It is a
:09:31. > :09:41.difficult moment. Back to Egypt, and our first finalist in the
:09:41. > :09:45.
:09:45. > :09:50.features category. May Abdalla and Inigo Gilmore pose as tourists to
:09:50. > :09:53.revolution and the chaotic aftermath. Over the course of one
:09:53. > :09:56.year, they follow three young people from different backgrounds.
:09:56. > :10:06.The judges The judges hildren of the Revolution for giving a human face
:10:06. > :10:07.
:10:07. > :10:17.to an important story. There were so many difficulties about making
:10:17. > :10:23.
:10:23. > :10:26.this film. Journalists are suspect. Cameras had to be smuggled in.
:10:26. > :10:29.There were times during filming that they were suspected of being
:10:29. > :10:32.spies. We had to be very careful and navigate our way very carefully
:10:33. > :10:36.through the situations. To ensure that we captured those scenes, but
:10:36. > :10:44.we were able to keep on filming without getting roughed up or
:10:44. > :10:54.detained. Inigo Gilmore went to Egypt to see what happened to the
:10:54. > :10:59.
:10:59. > :11:02.Egyptians. I saw a lot of the darkness. Egypt was very tense. It
:11:02. > :11:12.was more violent than people realise. It was a very challenging
:11:12. > :11:13.
:11:13. > :11:16.film to make, in that sense. conflict in Libya features twice
:11:16. > :11:19.this year. It is summer 2011 and British journalist Patrick Wells
:11:19. > :11:22.spends three weeks at embedded with a group of Libyan opposition
:11:22. > :11:32.fighters, citizens turned soldiers. Patrick follows the men of the
:11:32. > :11:33.
:11:33. > :11:43.Martyrs Brigade, 24 hours a day. was very lucky to meet the people
:11:43. > :11:45.
:11:45. > :11:48.that I did. They were a thoughtful bunch of guys. The guys heard this
:11:48. > :11:56.gunfire breaking out and they all jumped in their cars and went down
:11:56. > :12:01.there. It was as if we were going to the supermarket or something. We
:12:01. > :12:05.got out of the car in the middle of a firefight. They are attacking us
:12:05. > :12:10.and tried to come here. So now we are defending and trying to attack
:12:10. > :12:18.them. We're waiting for the commander. They would stand in
:12:18. > :12:23.government troops and we were lucky not to be shelled. They did things
:12:23. > :12:26.like that all the time. I think when you're filming in a live
:12:26. > :12:36.combat scenario, often once you're in it then fear goes out of your
:12:36. > :12:41.
:12:41. > :12:45.mind. You are just concentrating on staying in as much cover as you can
:12:45. > :12:53.all the time. Not trying to sacrifice your own safety too much
:12:53. > :12:58.for no reason. Even the forward aid station is a target. A medical
:12:58. > :13:04.student is one of his main characters. He tends to the wounded
:13:04. > :13:14.under constant shellfire. You have to stay here. There is no place
:13:14. > :13:16.
:13:16. > :13:22.after the making of this film. He was driving was drivingpeople to
:13:22. > :13:32.hospital. What upsets me is the difficulty of filming people while
:13:32. > :13:33.
:13:33. > :13:36.they are suffering. You may film someone who is dying. It may turn
:13:37. > :13:46.out, in your own mind, that your camera lens is the last thing that
:13:47. > :13:49.
:13:49. > :13:54.More remarkable footage from Misrata. The features a award goes
:13:54. > :14:02.to the Spanish team of Ricardo Garcia and and his cameraman. They
:14:02. > :14:06.provided an startling account of the city under siege. Ricardo and
:14:06. > :14:13.Alberto enter the port on board a supply s supply ship charted by the rebels.
:14:13. > :14:23.bombardment. The fuel depot has been hit by missiles fired by the
:14:23. > :14:35.
:14:35. > :14:41.regime. lose the city, they will kill the
:14:41. > :14:48.people. By daylight, Ricardo and D'Alberto find the debris of war
:14:48. > :14:58.all round. You are there. You are you ant
:14:58. > :15:19.
:15:19. > :15:22.The two men The two men The two men filming as they follow rebel forces.
:15:22. > :15:32.These men, many of them office and shop workers, are new to war and
:15:32. > :15:45.
:15:45. > :15:55.Covering combat is harrowing business and from the moment they
:15:55. > :15:56.
:15:56. > :16:06.arrive, the fighting is non-stop. togeth
:16:06. > :16:24.
:16:24. > :16:34.As the rebels conduct house-to- regime, the team capture a moment
:16:34. > :17:03.
:17:03. > :17:09.of farce. But the brutality of Now, a special award for global
:17:09. > :17:19.impact. One of the first journalists journaliststhe Syrian
:17:19. > :17:21.
:17:21. > :17:29.government ban on foreign media. It is October 2011. Posing as tourists,
:17:29. > :17:32.they enter the country under cover. As soon as the army is out, the
:17:32. > :17:42.people are back on the street. They're fearless. Nothing will stop
:17:42. > :17:44.
:17:44. > :17:47.them. They go to meet with longot
:17:47. > :17:57.long before we found ourselves in one of the worst possible case
:17:57. > :18:07.scenarios. Within just a few hours, we started hear reports that the
:18:07. > :18:15.
:18:15. > :18:19.army had surrounded the town we to door searching for activist, the
:18:19. > :18:29.safe house does not feel very safe. A woman in the hallway is pleading
:18:29. > :18:32.for her son's life. It really was an emotional roller-coaster. While
:18:32. > :18:36.we were in hiding, we heard the militia smashing doors, breaking
:18:36. > :18:45.windows, taking people from neighbouring houses. While we were
:18:45. > :18:55.lucky, unfo lucky, unfo, others were not.
:18:55. > :18:59.
:18:59. > :19:08.Next: Safa Al-Ahmade, a Saudi national who managed to get
:19:08. > :19:11.extraordinary footage of Al-Qaeda Iraqi reporter and they posed as
:19:11. > :19:16.husband and wife. Their mission is to capture the real story behind
:19:16. > :19:18.the rise of Al-Qaeda in the Arabian peninsula. When I saw the flag, and
:19:18. > :19:28.I had previously seen guys crucified, I was wondering it is
:19:28. > :19:31.
:19:31. > :19:41.this what is going to happen to us. Did you see that? Two guys with the
:19:41. > :19:42.
:19:42. > :19:48.flag of Al-Qaeda. They're fighters from different countries but it is
:19:49. > :19:56.risky to spend too much time with Al-Qaeda. There are obvious dangers
:19:56. > :19:59.does not what you to go into the Al-Qaeda area. You always risk
:19:59. > :20:09.arrest by government or arrest by Al-Qaeda because they might decide
:20:09. > :20:18.Wearing a burqa makes it difficult to film. It was physically
:20:18. > :20:25.challenging. I had to find the to offend anyone, but it made it
:20:25. > :20:31.really difficult to see. scariest moment is what happens
:20:31. > :20:34.after this. They're both blindfolded and taken to film
:20:34. > :20:43.prisoners Al-Qaeda is holding but guards.
:20:43. > :20:53.guards. The leader decided I had filmed the guards. He took the tape
:20:53. > :20:54.
:20:54. > :20:59.and asked me to rewind it. You think, maybe I got someone by
:20:59. > :21:09.the tape and they watched it. And I'm standing there going... They
:21:09. > :21:09.
:21:09. > :21:12.may not return us. They might kidnap us. That was, I think, the
:21:12. > :21:21.closest moment when I decided maybe we filmed something we should not
:21:21. > :21:31.misrepresent them. I think we were honest about what we saw. We showed
:21:31. > :21:33.
:21:33. > :21:36.all sides. A distressi A distressit of impact on
:21:36. > :21:39.war on the people of Sudan's Nuba Mountains has won the Sony Impact
:21:39. > :21:47.Award. Daniel Bogado uncovers a largely hidden war where thousands
:21:47. > :21:54.have been forced to live in caves. For Daniel and reporter, Aidan
:21:54. > :22:04.mountains virtually cut off from the outside world. We knew the most
:22:04. > :22:06.
:22:06. > :22:16.dangerous part was going in. It was fighting between both sides. We saw
:22:16. > :22:19.
:22:19. > :22:21.dead bodies along the path. It was trench warfare. Their guides are
:22:21. > :22:24.rebels fighting with government forces of President Omar Hassan Al-
:22:24. > :22:31.Bashir. Aircraft's drop bombs daily. It is not long before they come
:22:31. > :22:41.under attack. The most dangerous moment was when we were travelling
:22:41. > :22:49.
:22:49. > :22:53.with the escort. Suddenly, everybody stopped. At that moment,
:22:53. > :23:03.I did not know what was happening so I followed my colleague and we
:23:03. > :23:04.
:23:04. > :23:07.out there was a jet fighter and the somewhere in the vicinity. At the
:23:07. > :23:15.moment I was thinking, film everything. Keep the camera on and
:23:15. > :23:24.keep filming. Tens of thousands of civilians have been forced to take
:23:24. > :23:26.refuge in caves to avoid the fighting and bombings. They meet a
:23:26. > :23:36.woman whose husband joined the rebels and her family has been
:23:36. > :23:46.living in a cave for months. can see two and three year-old
:23:46. > :23:48.children, babies. It is a very real danger. The psychological effects
:23:48. > :23:58.on the population, on the young population, it must be absolutely
:23:58. > :24:09.
:24:09. > :24:12.terrible. The children attend school in a clearing. Daniel thinks
:24:12. > :24:15.he's going to get pictures of kids trying to maintain aaintain a
:24:15. > :24:18.under constant threat. He is shocked by what happens next.
:24:18. > :24:22.thought we would speak to the teachers, talk to the children and
:24:22. > :24:25.go away. And then, while they're singing the national anthem, I
:24:25. > :24:35.could see one of the children looking up, they stopped singing,
:24:35. > :24:40.
:24:40. > :24:43.many looked up and you could see the fear in their face. You have
:24:43. > :24:48.haveou have a bomber plane threatening to
:24:48. > :24:58.bomb them. They were running into the caves where they were living.
:24:58. > :25:04.
:25:04. > :25:07.That for me summarizes what is happening. There is another
:25:07. > :25:17.insidious danger - starvation. What is the problem here with this
:25:17. > :25:19.
:25:19. > :25:22.little girl? She is suffering from subsisting on one meal a day. The