AV News 201 - August 2015
This is the third sequence appreciation evening we organize . So far all have been very successful , people stating they have learned how to analyze a sequence . We hope this will result in better sequences they produce .
The power of UK productions is no doubt the working around a well prepared script and the feeling for documentary in audiovisuals . In their way of producing we see a more traditional point of view by utilizing the classic remedies of good photography , an illustrative text and a classic way of picture flow . However , they do not leave the known paths of success and therefore some of the series show a lack of modernity , we don ' t see any video clip which could make some series even better . We miss also a certain degree of dynamism in the way of setting up the story .
Although most of the Dutch speaking community in Belgium speaks and understands English , it is another story when it comes to a spoken commentary in a British production . Not everyone has a BBC voice-over to work with . Local accents make sometimes understanding a sequence a bit difficult . As a consequence some people are a bit unhappy at the end . Blaming the sequence , for in fact their own problem , i . e . not understanding sufficiently well English . Authors , it could be helpful to write your texts in short simple short sentences , if you intend to send your production to a non-English country .
This problem is not related to English , it also exists for commentaries in French , German , and even Dutch spoken by some of our neighbors from Holland … I think the language problem has always been and will always be the main problem in ‘ Diaporama ’, and introduction of digital and video techniques won ’ t change that . In that respect , the ideal production is one without a text and exceptional good photographic techniques supported with a fine and appropriate music track .
Analyzing The Sequences .
For the analysis of the sequences , we called upon our currently most successful and very productive AV maker , Guido Flobert . He is young and not handicapped with ideas coming from the older days in Diaporama . He is not a great technician but a very good text writer and someone with original poetic approach in AV .
Colin Balls - ‘ Frank Harrison ’.
The production asks a lot of the spectator . The use of the voice of a painter who has been struck by a stroke makes it even more difficult to follow , as sometimes his voice can hardly be understood .
The use of this broken voice has no added value , on the contrary . The use of a timeline from past to future could be if reversed , of much more impact . To start with a voice affected by a stroke and this in addition with his painting made with efforts for months would have given a much more direct impact and placed you directly in the right context . Afterwards another not affected voice could take over with the rest of the story .
Page 17