Brilliant footage as always! Of all series of Airshow Dispatches and after chatting a bit in the comments and on PTV streams, I can tell you've had a real blast this season! :D Its been a really good one this year for a few reasons, lots of debuts in the UK both in the air and on the ground, new displays and shows with decent weather (for a change). Bring on the 2025 season, I can't wait! P.s. I must admit its made me really want to try my hand at commentary 😆
Thank you; yes, it was a pretty decent year. Regarding commentary; an improvised narration of the style you've seen on PlanesTV is quite easy, assuming decent presenting skills and a good amount of knowledge. The trouble is that, outside PlanesTV, there's not much need for it. Actual airshow commentary over the PA system is a whole different kettle of fish, and has been a very steep learning curve - partly because there is much less tolerance for error or confusion, and partly because you're not just chatting away about what you see, with no real responsibilities: suddenly you're also a sound engineer, a DJ*, a part of a multi-agency communication chain with multiple radio channels and communication links to monitor constantly, and the last line of defence between the spectators and an emergency or unexpected incident. *It has its place on avgeek-centric live broadcasts and for shows like Shuttleworth, but otherwise I haven't really got much patience for the "one man waffling about facts" style of commentary. Airshows are theatre of the air; they should have a soundtrack to match that's a fully-intergrated part of the show. In Topeka, for example, our entire 4hr airshow was scripted almost word-for-word, with every single act (and every gap between each act) getting a bespoke cinema-style soundtrack. Our music was timed to the second; several minutes of building that would rise to a massive creschendo within half a second of a bomb burst or pyro being launched, for example. A soundtrack that ebbed and flowed to match every single manoeuvre. The trouble is that it was us that had to manage the music, set the volume levels, and make adjustments if it seemed like a respositioning turn might be taking a second or two longer than planned - all the while keeping up a convincing, polished narration, monitoring two radio channels and being preparred to flip into emergency mode. It was tough, and I'm not anticipating being able to attempt it solo until at least 2026, by which point I'll have had four years of mentorship. My point being not to dissuade you, but just to say that it's a slow burn, not something that can be dipped into to try it out. Sadly we don't have anyone currently in the UK who can mentor in the more modern music-led style of commentary and I had to go to the States for that, but if you're keen to learn more generally, talking to someone like Ben Dunnell or George Bacon would be a good start.
@ThisisFlight Thank you so much for getting back to me! Thats really interesting! The more casual style of commentary like what we see on Planes TV live broadcasts does sound more straightforward by comparison to full on PA commentary as a lead or co-commentator due to the tasks involved and quite simply due to being under significantly more pressure to deliver accurate information, play appropriate music if necessary and potential emergency communication etc. However, I can imagine there can be a fair bit of multi-tasking involved especially when you may be operating a camera inbetween communicating in the chat whilst also improvising seeing what happens (during RIAT Arrivals for example) etc. Like you say, it is also something you don't see often outside of Planes TV. I completely agree about airshows being aerial theatre, forming a narrative and using music well (or both) are very powerful tools and can deliver more information whilst being more entertaining for spectators. Admittedly, there are times where simply the sound of the aircraft and just commentary works perfectly well but really good use of music can totally transform the atmosphere for the better. Funnily enough, in your response you've already answered another question I was going to ask which would have been your thoughts on music during displays. I didn't fully realise just how much preparation went into it beforehand, using Topeka as an example, in terms of timing the music with almost military precision between manoeuvres (pardon the pun) ;) whilst coordinating everything else between acts to maintain a constant flow that sounds good to the listener, that does sound like a real challenge. At the same time it must feel very rewarding if you feel you've done it right.That side of things has always been interesting to me. Like you say, due to the way shows are now and depending on ones individual style, I appreciate it would take a long time to learn about it as there isn't really anyone to mentor from. As I said a few months ago, you've really developed your own style and its very good. I feel in terms of presentation we'd be quite similar. Thanks again for getting back to me thats very much appreciated. :D
It doesn't *have* to involve as much preparation as I suggested - the current UK style is much closer to what I do on PlanesTV, just with added responsibility. It has its place. But it's not theatre. I'm yet to do airshow commentary in "my style" here in the UK, because I'm not yet at the point where I can pull it off as a solo or lead commentator. Nor on PlanesTV, because it's not really appropriate for broadcast. It's about soundtracking the show, not talking over it. And doing all the little things that nobody conciously notices, like starting every sentence on a big drumbeat, and ending it on the next big drumbeat or just before a thematically appropriate lyric, for example. Which probably means using a prepared, practiced script. I wrote some recent musings on it here, with examples: www.linkedin.com/feed/update/urn:li:activity:7260243398681415680/
You could argue that the current style in the UK works really well because its more straightforward but the style you adopted is very good. I've watched your footage from Thunder Over the Heartland and its great, a very interesting contrast by comparison to the UK style! Whilst the music has a more prominent position in the American style and mostly takes a backseat here, it still works really well and doesn't sound like its just playing indiscriminately. Like you say, if its bespoke and timed well then perfect! Whilst having the script and the music prepped, I suppose the biggest challenge is the timing on the day and whether there's a change in display sequence depending on weather or something? :) I know its not quite the same but I remember hearing Sunshine by Ghost used during the Swedish Gripen display at RIAT this year which was obviously due to Henrik Björling's callsign being Sunshine and thought that was effective. I agree that here in the UK, it would more likely to only work in moderation depending on the show of course. Its a very good approach for sure and the idea of a 3D totally immersive experience is an awesome way of looking at it! I'd certainly enjoy listening to it :)
Seems you are right! Unfortunately the notes provided by Extra begin: "Featuring an all-carbon rigid base frame - another first in aerobatic aviation history" which I read almost verbatim.
@@ThisisFlight That is interesting! A carbon fuselage is new for their history. They were hesitant to adapt a full carbon monocoque because carbon breaks into razor sharp daggers basically. They thought that a tubular trellis frame is safer in the event of a crash. BTW...your videos are great! I always enjoy watching them. 🙂👍🛩
![[LIVE] : ONE ลุมพินี 86 | คู่เอก "คมเพชร vs ชาติพยัคฆ์"](http://i.ytimg.com/vi/m3q_dRYDuU8/mqdefault.jpg)
Awesome footage as always. Also liked the interviews with the pilots. Thanks for another year of great airshow footage.
Great footage.👍🏻👍🏻
Thanks for sharing.💪🏻🤙🏻
What a great finale episode to a stunning global display season. Looking forward to what 2025 has in store for the airshow scene around the world.
Brilliant footage as always!
Of all series of Airshow Dispatches and after chatting a bit in the comments and on PTV streams, I can tell you've had a real blast this season! :D Its been a really good one this year for a few reasons, lots of debuts in the UK both in the air and on the ground, new displays and shows with decent weather (for a change).
Bring on the 2025 season, I can't wait!
P.s. I must admit its made me really want to try my hand at commentary 😆
Thank you; yes, it was a pretty decent year.
Regarding commentary; an improvised narration of the style you've seen on PlanesTV is quite easy, assuming decent presenting skills and a good amount of knowledge. The trouble is that, outside PlanesTV, there's not much need for it. Actual airshow commentary over the PA system is a whole different kettle of fish, and has been a very steep learning curve - partly because there is much less tolerance for error or confusion, and partly because you're not just chatting away about what you see, with no real responsibilities: suddenly you're also a sound engineer, a DJ*, a part of a multi-agency communication chain with multiple radio channels and communication links to monitor constantly, and the last line of defence between the spectators and an emergency or unexpected incident.
*It has its place on avgeek-centric live broadcasts and for shows like Shuttleworth, but otherwise I haven't really got much patience for the "one man waffling about facts" style of commentary. Airshows are theatre of the air; they should have a soundtrack to match that's a fully-intergrated part of the show. In Topeka, for example, our entire 4hr airshow was scripted almost word-for-word, with every single act (and every gap between each act) getting a bespoke cinema-style soundtrack. Our music was timed to the second; several minutes of building that would rise to a massive creschendo within half a second of a bomb burst or pyro being launched, for example. A soundtrack that ebbed and flowed to match every single manoeuvre. The trouble is that it was us that had to manage the music, set the volume levels, and make adjustments if it seemed like a respositioning turn might be taking a second or two longer than planned - all the while keeping up a convincing, polished narration, monitoring two radio channels and being preparred to flip into emergency mode. It was tough, and I'm not anticipating being able to attempt it solo until at least 2026, by which point I'll have had four years of mentorship. My point being not to dissuade you, but just to say that it's a slow burn, not something that can be dipped into to try it out. Sadly we don't have anyone currently in the UK who can mentor in the more modern music-led style of commentary and I had to go to the States for that, but if you're keen to learn more generally, talking to someone like Ben Dunnell or George Bacon would be a good start.
@ThisisFlight Thank you so much for getting back to me!
Thats really interesting! The more casual style of commentary like what we see on Planes TV live broadcasts does sound more straightforward by comparison to full on PA commentary as a lead or co-commentator due to the tasks involved and quite simply due to being under significantly more pressure to deliver accurate information, play appropriate music if necessary and potential emergency communication etc. However, I can imagine there can be a fair bit of multi-tasking involved especially when you may be operating a camera inbetween communicating in the chat whilst also improvising seeing what happens (during RIAT Arrivals for example) etc. Like you say, it is also something you don't see often outside of Planes TV.
I completely agree about airshows being aerial theatre, forming a narrative and using music well (or both) are very powerful tools and can deliver more information whilst being more entertaining for spectators. Admittedly, there are times where simply the sound of the aircraft and just commentary works perfectly well but really good use of music can totally transform the atmosphere for the better. Funnily enough, in your response you've already answered another question I was going to ask which would have been your thoughts on music during displays.
I didn't fully realise just how much preparation went into it beforehand, using Topeka as an example, in terms of timing the music with almost military precision between manoeuvres (pardon the pun) ;) whilst coordinating everything else between acts to maintain a constant flow that sounds good to the listener, that does sound like a real challenge. At the same time it must feel very rewarding if you feel you've done it right.That side of things has always been interesting to me.
Like you say, due to the way shows are now and depending on ones individual style, I appreciate it would take a long time to learn about it as there isn't really anyone to mentor from. As I said a few months ago, you've really developed your own style and its very good. I feel in terms of presentation we'd be quite similar.
Thanks again for getting back to me thats very much appreciated.
:D
It doesn't *have* to involve as much preparation as I suggested - the current UK style is much closer to what I do on PlanesTV, just with added responsibility. It has its place. But it's not theatre.
I'm yet to do airshow commentary in "my style" here in the UK, because I'm not yet at the point where I can pull it off as a solo or lead commentator. Nor on PlanesTV, because it's not really appropriate for broadcast. It's about soundtracking the show, not talking over it. And doing all the little things that nobody conciously notices, like starting every sentence on a big drumbeat, and ending it on the next big drumbeat or just before a thematically appropriate lyric, for example. Which probably means using a prepared, practiced script. I wrote some recent musings on it here, with examples: www.linkedin.com/feed/update/urn:li:activity:7260243398681415680/
You could argue that the current style in the UK works really well because its more straightforward but the style you adopted is very good. I've watched your footage from Thunder Over the Heartland and its great, a very interesting contrast by comparison to the UK style!
Whilst the music has a more prominent position in the American style and mostly takes a backseat here, it still works really well and doesn't sound like its just playing indiscriminately. Like you say, if its bespoke and timed well then perfect! Whilst having the script and the music prepped, I suppose the biggest challenge is the timing on the day and whether there's a change in display sequence depending on weather or something? :) I know its not quite the same but I remember hearing Sunshine by Ghost used during the Swedish Gripen display at RIAT this year which was obviously due to Henrik Björling's callsign being Sunshine and thought that was effective.
I agree that here in the UK, it would more likely to only work in moderation depending on the show of course. Its a very good approach for sure and the idea of a 3D totally immersive experience is an awesome way of looking at it! I'd certainly enjoy listening to it :)
Rob Holland's MX RH and Philipp Steinbach's Gamebird preceded the full carbon Extra.
Seems you are right! Unfortunately the notes provided by Extra begin: "Featuring an all-carbon rigid base frame - another first in aerobatic aviation history" which I read almost verbatim.
@@ThisisFlight That is interesting! A carbon fuselage is new for their history. They were hesitant to adapt a full carbon monocoque because carbon breaks into razor sharp daggers basically. They thought that a tubular trellis frame is safer in the event of a crash. BTW...your videos are great! I always enjoy watching them. 🙂👍🛩