Talking
Talking-Esports-FINAL-2 Talking-Esports-FINAL-2
It can, of course, be nerve-wracking the first time around, but if youdo find the crowd to be unnerving, focus on the role, put the headphoneson and concentrate hard on the game itself. Getting used tothe crowd and using the energy it can provide you with takes longerfor some than others.PRODUCTION DIFFERENCESHaving a producer or director is a real help for a commentator.Although you have to do everything yourself at home, these guysallow you to fully focus on the actual role of commentating at anevent. Everyone is there to make your job easier and handle all ofthe other production issues that come up. You should strike up agood relationship with your production team, get to know them,understand what roles they do and then work with them to ensureyou are comfortable, your headset works properly, volumes aregood and also that you knowwhat’s coming next.Often you’ll find yourself doingthings in the show that youperhaps might not have donebefore, such as doing properthrows and standing in front ofa screen to explain pieces ofplay in replays. You should embrace all of these things but ensureyou know what is expected of you. You also need to ensure you canhear everyone you need to, including the producer in your ear,otherwise mistakes can happen very easily.Producers do so much more to ensure the overall delivery of theshow is great, but the relationship you build with them should beone of trust. They have your back, you have theirs. You’ll find your-33
self saving them occasionally, but they usually save you much moreoften!On a good show, you’ll also be given a show rundown and possiblyeven a script. These are essential to ensure everyone - you, theproducer, the camera guys, the sound, lights, etc. - are all on thesame page at any given point in the show. Big events are complicatedbeasts, and ensuring you are familiar with the show rundown isessential.Here is the first page of a rundown of a show we produced at ESL togive you an outline and idea of what it includes. You can even usethis as a basis for writing your own as this will help with show flowand planning, even when producing for yourself at home.34
- Page 1 and 2: Talking EsportsA guide to becoming
- Page 3 and 4: CAMERAS! ..........................
- Page 5 and 6: INTRODUCTIONIt doesn’t matter if
- Page 7 and 8: HOW ON EARTH DID WE GET HERE?We’v
- Page 9 and 10: on a dedicated gaming channel (Xlea
- Page 11 and 12: BROADCAST ROLESBefore I jump in to
- Page 13 and 14: STREAMINGStreaming is an important
- Page 15 and 16: If you get stuck, remember that the
- Page 17 and 18: GOING PUBLICWhen you’re ready to
- Page 19 and 20: Using the same words over and over
- Page 21 and 22: I could spend an age analysing why
- Page 23 and 24: THE KEYS TO SUCCESS ON ANY FORMATRe
- Page 25 and 26: I’ve included a recent spreadshee
- Page 27 and 28: GAME-SPECIFIC PREPARATIONIf you are
- Page 29 and 30: efore the tournament. Make sure you
- Page 31 and 32: Likewise, being professional doesn
- Page 33: So how do you deal with all these?L
- Page 37 and 38: emember that very few people are an
- Page 39 and 40: THE VOICEI won’t lie to you here:
- Page 41 and 42: more expressive at the same time. Y
- Page 43 and 44: son as to why you should avoid alco
- Page 45 and 46: That said, stamping your own person
- Page 47 and 48: If you work on your own, it’s rel
- Page 49 and 50: STORYLINESAnother area often underu
- Page 51 and 52: a broadcast. That means, above all
- Page 53 and 54: HOSTING AND PRESENTINGOne of the mo
- Page 55 and 56: For large tournaments in arenas, it
- Page 57 and 58: GRAPHICS AND STORYLINESUp to this p
- Page 59 and 60: even four different cameras to use.
- Page 61 and 62: There is an old saying that you can
- Page 63 and 64: the conversation can often lead to
- Page 65 and 66: The simplest and easiest way to do
- Page 67 and 68: THROWSThe art of throwing is one th
- Page 69 and 70: ENHANCED THROWSOnce you’re comfor
- Page 71 and 72: or it hasn’t been produced until
- Page 73 and 74: COPING WITH NEGATIVE FEEDBACK AND A
- Page 75 and 76: You can also talk to others in the
- Page 77 and 78: your goals and ambitions and ensure
- Page 79 and 80: Many of the newer commentators who
- Page 81 and 82: What do you bring to the event in a
- Page 83 and 84: ansom even by the top commentators
It can, of course, be nerve-wracking the first time around, but if youdo find the crowd to be unnerving, focus on the role, put the headphoneson and concentrate hard on the game itself. Getting used tothe crowd and using the energy it can provide you with takes longerfor some than others.PRODUCTION DIFFERENCESHaving a producer or director is a real help for a commentator.Although you have to do everything yourself at home, these guysallow you to fully focus on the actual role of commentating at anevent. Everyone is there to make your job easier and handle all ofthe other production issues that come up. You should strike up agood relationship with your production team, get to know them,understand what roles they do and then work with them to ensureyou are comfortable, your headset works properly, volumes aregood and also that you knowwhat’s coming next.Often you’ll find yourself doingthings in the show that youperhaps might not have donebefore, such as doing properthrows and standing in front ofa screen to explain pieces ofplay in replays. You should embrace all of these things but ensureyou know what is expected of you. You also need to ensure you canhear everyone you need to, including the producer in your ear,otherwise mistakes can happen very easily.Producers do so much more to ensure the overall delivery of theshow is great, but the relationship you build with them should beone of trust. They have your back, you have theirs. You’ll find your-33
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