The Northern Audio Visual Group

What Makes a Cracking Audio-Visual Programme?

If we believe the old saying – beauty is in the eye of the beholder – then our audio-visual programmes should tickle the fancy of our audience. Of course, that’s the dream, but let’s not turn into someone desperately seeking the nod from the camera club’s judge. Personally, I reckon our audio-visual extravaganzas should fulfil the ambitions of their creators, unfettered by stuffy rules and fussy regulations.

Pop along to any meeting of the Northern Audio-Visual Group and eavesdrop on the musings of the members. You’ll soon sense there are a handful of, let’s say, ‘guidelines’ that make our creations easier on the eye, but no one’s wielding a rule book with an iron fist. We encourage members to unleash their creativity and develop their own particular styles. Think of the parameters as more ‘friendly pointers’ and less ‘Ten Commandments’.

There are two main breeds of audio-visual programme – the first is pictures dancing to the rhythm of music (Photo Harmony), and the second is the full Monty: commentary, music, sound effects, pictures. Both can spin a yarn admirably, if you don’t go off-piste and ignore a few basic tips.

Here’s an easy one: stick to the same horizontal format for your pictures, nearly always the 16:9 widescreen. There’s nothing more visually taxing than watching a show with black borders popping up and down like an overeager Jack-in-the-box. Your audience came to be entertained, not to play ‘spot the difference’.

An audio-visual delight is basically storytelling with sound and pictures. It’s infinitely more watchable if the sights and sounds make sense together. Don’t feel you must illustrate every syllable or narrate the blindingly obvious – your viewers can spot a cat on a mat without you telling them. The audio, be it a voice-over or a recognisable tune, should shake hands with the images and not wrestle them to the ground.

There’s one ‘guideline’ that’s so important it’s practically a law: change images on the beat of the music. This is the legendary ‘cut to the beat’. Most viewers won’t even notice it – unless you get it wrong, in which case, they’ll sense something is off, even if they can’t put their finger on it. It’s like socks with sandals: you just know it’s not right.

Even though your show consists of a parade of images, don’t think of it as a jumble sale of random snaps. How you glide from one picture to the next is part of the magic. As your ‘show’ meanders along, the pictures should flow – like a conga line, not a rugby scrum. For example, if slide one is a girl in a white dress on a beach and slide two is a different girl in a red dress, try to keep them in the same area on the screen. Don’t make your audience’s eyes do laps around the screen.

A show is much more satisfying if it’s got that classic story structure – a beginning, a middle, and an end. If the ending answers the question that you posed at the start, or reveals a dazzling twist, you’ll have your viewers cheering for more (or at least awake until the credits roll). There’s nothing like giving your audience that ‘a-ha!’ moment.

None of this is rocket science, and if you’re keen to have your stories applauded (or, at the very least, politely tolerated) by your audience, put together a programme and bring it along to a Northern Audio-Visual Group meeting. You’ll get tips, tricks, and maybe even a biscuit. Or just pop by anyway to see what everyone else is up to – you’ll always get a hearty welcome. In the end – it’s you who puts the ‘good’ in a good audio-visual programme. (And maybe a dab of humour helps, too!)

To begin, I joined the RPS and sought out a local audio-visual group affiliated with the society. Although this group only met twice per year, they gathered at a school hall in Snods Edge—a location with a charming name that piqued my curiosity. I found Snods Edge on the map and decided to bring one of my audio-visual presentations to share and receive feedback from the group.

My initial visit took place in March, at a time when snow was still falling. Fittingly, as I arrived Snods Edge—locally referred to as "snows edge"—was bathed in sunlight and blanketed with snow. My years in the audio-visual community meant I recognised several members, including Howard Wilson, who greeted me warmly. Spotting the CD in my hand, Howard remarked that I must be ready for 'criticism,' as the group traditionally called it. He joked that one needed to be thick-skinned because the jury could be quite harsh. However, the feedback on my presentation was not overly critical, and I left feeling satisfied with my experience.

Although my first encounter at Snods Edge—soon affectionately known to me as ‘Snods’—was slightly intimidating, I found it both enjoyable and educational. I gained valuable insight into what the RPS distinctions panel might look for in candidates. I continued to attend meetings, eventually joined the committee, and later accepted the Chairmanship. Over twenty-five years, I have cherished my membership and formed enduring friendships.

Over time, the landscape of audio-visual work has evolved. The introduction of modern techniques and equipment has softened the group’s approach. Criticism is now framed as advice, and encouragement is offered by fellow members. The NAVGroup is no longer affiliated with the RPS, and those seeking audio-visual distinctions now also have alternative paths.

During my journey, I achieved both LRPS and ARPS distinctions in audio-visual work. I remain grateful for the constructive criticism I received at Snods Edge, even though I can no longer use these distinctions as I am not currently a member of the Royal Photographic Society. Nevertheless, I continue to benefit from my involvement and commitment to the Northern Audio-Visual Group.