The Commentary

Since the earliest days of sound film, the commentary has been a familiar device in news stories, travelogues, demonstrations, sports events, and public ceremonies of all kinds.

The commentator’s role

In most programs, the commentator is an observer or informant; explaining the events we are watching. Although usually unseen (VO – voice over; OOV – out of vision), the speaker may also appear in shot from time to time.

Scripted commentary

Scripted commentaries are usually written to accompany program material which is not self-explanatory, and usually without dialogue. It is a particularly useful way of joining together a series of apparently unconnected shots. (Music can also do this, but leaves the viewer to work out what is happening.)

A well-written, well-read script sounds like spontaneous conversational observations; not like a prepared speech. The scripted commentary is carefully timed to fit the recorded picture. If there is insufficient time for some essential information, the picture sequence may be extended (built out, stretched) to last long enough (e.g. by adding, repeating, slow motion, etc.).

It is annoying when introductory comments are made too early – leaving us waiting for the event. But even more frustrating is information that lags behind the action we have already seen!

Unscripted commentary

Here the commentator, armed with researched information on the subject, speaks spontaneously. A good commentary supplements a picture, and does not overwhelm it. That’s not always easy when it’s an exciting sporting event, and tension is growing. There’s a tendency to describe what the audience can see for themselves. An experienced commentator neither states the obvious (e.g. she is getting out of the carriage), nor insults the viewer’s intelligence (e.g. he is about to put the loaf in the oven to bake). Yet it happens! A good commentary draws attention to those visual clues that the less well informed viewer might have overlooked or forgotten. The technique is to identify which player it is with the ball, or the problems of the game, rather than describe.

There will often be prearranged out-cues agreed with the director for any cued-in inserts (e.g. film or VT clips, titling, photo-stills). This avoids the embarrassment of the commentator referring to insert items that are not ready to show!

If surroundings are noisy, use a fairly close microphone with a wind shield or a noise-cancelling mike. And always speak a few words as a level check (voice test) before recording, for the audio engineer to adjust equipment.

Cuing

Commentators use several forms of cues, including:

• Hand signals from the FM.

• Intercom cues from the director.

• Word cues (e.g. from an announcer).

• Monitor picture cues (… and here he is!).

Out-of-vision commentary

Where the commentator is never seen, he may be located in an annoynce-booth, or in a corner of the studio.

Desk monitor

Where the commentator is seen in shot at a desk, a small monitor may be hidden within it, unseen by the camera.

In-shot monitor

A nearby monitor shows film or videotape on which the studio talent comments. Where a color monitor is used in shot, it requires careful color re-balance for It to look correct or, camera.