Camcorder Masterclass - Index
Use of Commentary

The purpose of a commentary is to impart additional information; to express a point of view, particularly in documentaries; to entertain and, sometimes, to help link adjoining scenes.

It must be interesting, and if it is really necessary to quote facts and figures then try putting them across in a non-boring way. Don't talk down to the audience and avoid verbal diarrhoea. Commentary should be limited to those places where it is needed, which is rarely the whole video. Also use everyday, and not high faluting, language so that the commentary sounds natural.

It follows that a considerable amount of thought is required and it is unwise to give a running commentary whilst shooting. The delivery will be wrong, the sound track will be ruined with unwanted comments, valid points will be omitted and in all probability camerawork will suffer from trying to do two things at once. Instead write it down, leave for a day or so and then re-write and re-write until you are satisfied with the outcome. Mark up any words which will require special emphasis.

There is a lot to be gained by writing the commentary before editing, maybe before shooting commences. With a scripted shoot this is virtually an obligation. The practice helps to shape the video, albeit that you will inevitably have to make some alterations at the editing bench. In this respect it helps to time each segment of commentary (even if unrecorded at that stage) for reference when assembling the visuals.

Delivery

An excellent script can be spoilt by poor delivery and the wrong kind of voice. If yours is dull and flat, rather than stimulating and listenable, then look for someone who has the right qualities.

Delivery should be natural, not, as frequently happens, slow and deliberate. On playback it seems even slower. Three words per second is about right.

Is it best to record the commentary on a video tape for subsequent incorporation on the Master Edit or use an audio cassette?

There is no best answer - experiment and find out what sounds best and suits you. Some folk make a mute copy of the Master Edit and then speak the commentary direct onto that copy whilst watching the picture. If they make a mistake then that segment is redone. I find that approach is difficult so I record on cassette, preceding each segment of commentary with a reference (A - take 1 or if I fluff take 2 etc.). Upon satisfactory completion, each acceptable segment is transferred to the required point on a muted copy of the Master Edit. That copy is used to build up the integrated soundtrack.

Others incorporate their commentary onto a multi-track sound recorder and then transfer to the Master Edit. There are many permutations.

Commentary Tips

• Delivery will be spoilt if it sounds as though the commentator is reading a script. Instead rehearse the script aloud until it becomes familiar and you are satisfied with the intonations. Then when recording, much of what you say will be from memory, the script being more of an aide-memoir.

• Speak over and not directly into a microphone. This avoids "plops" etc. which can occur with certain sounds.

• Where possible monitor the sound recording level, which should peak at 0 decibels, thereby reducing the extent of hiss and avoiding distortion.

Camcorder Masterclass - Index
Shooting for cuts on action

A competent editor takes great satisfaction from making cuts-on-action. Even greater satisfaction is obtained if viewers don't notice it!

No - editors aren't a strange bunch. The observation failure means the cut has been well done and doesn't stand out like a sore thumb. What the viewers did observe however, even though they may have not thought about it, was a very smooth, polished transition between two shots.

However, an editor can only work with the material supplied, so it's up to us as camera operators to shoot suitable visuals, and plenty of them. But before that can be done it is necessary to describe a cut on action and then show how the material should be shot.

The term is very descriptive. It means precisely what it says. Two shots have been joined together during the course of an action. Let's take a very simple scene - a boy drinking a can of Coca-Cola.

Directing the audience attention
We could, of course show that action as one shot but there can be at least three reasons for splitting it into two, or in certain instances even more. The first is to add variety and polish to the finished movie. The second is to show something more clearly. in our example perhaps the product, and finally the editor might wish to draw our attention to something within the scene which is to be covered in subsequent shots. This something might only be revealed from a different angle. Examples two and three could be introduced in other manners but by cutting on action the polish and revelation aspects are very neatly combined.

The essence of the shoot is a repetition of the action. The first shot would show the boy picking up the can from the bench, raising it to his lips and then drinking it. The action now needs to be repeated and re-shot, but this time from a different angle and, usually, at a different focal length.

By repeating the complete action the editor can link the shots at any point that he/she wishes. In other words there is a choice. Moving the camcorder will satisfy the variety, polish and revelation requirements and, most importantly, will help mask any minor discrepancies which may occur between the two actions.

Obviously there will be occasions where it is not possible to ask someone to duplicate an action but even so there may be a remedy. For instance at a cricket match or a bowls tournament etc., whilst movements may not be totally identical nevertheless there is considerable repetition. So look around and reshoot, from a different angle and focal length. At worst the editor will discard the repeats.

More often than not the camera operator and editor is one and the same person. Also the editing equipment available, and/or the technical skills do not permit frame accurate editing. If so, don't despair. There are many movements where the action is temporarily halted for two or three seconds. The boy with the Coca-Cola will hold it up to his lips whilst he drinks. In such instances the time span is sufficient to cut on the pause, i.e. it doesn't require as much accuracy.

The message is plain - If you want to hone your camera and editing skills then try to include good cuts-on-action. They really do improve the movie.