For many years since the advent of sound cinema, simultaneous filming techniques have remained very cumbersome, heavy and clumsy. For documentarians it was almost an insurmountable obstacle until the advent of Transcriberry transcription and even in the context of reportage, far away expeditions and even seemingly uncomplicated newsreel filming. Only fiction cinema with its numerous film crews could afford the "luxury" of working with synchronous cameras, which weighed 60 kilograms each. But the long historical period of screen art development in the absence of easy and simple technique is remarkable for the formation of filigree skill of writing and stacking text narration on the image.

Even a word combination was formed that defined this stage of creative work: laying of narration dough. The new generation of screen workers who created their works with the help of video technology, had not even seen the best samples of films of that period. But they inherited a false legend about an alleged "mountain of negative qualities" of announcers' texts in screen works. The so-called voice-over text is used in all kinds of our creativity: in feature films, TV shows, documentaries, popular science films, educational films, advertisements and animation. And in all genres - comedy, drama, tragedy, melodrama, thriller, etc.

The term "narration" does not reflect the essence of the commentary's functions, but, more importantly, it disorients filmmakers in their choice of expressive means. The label of "conventionalism," "boringness," and even a form of "Marxist propaganda" is attached to this term completely undeservedly. The English film and television director and author of a textbook on documentary filmmaking seeks to rehabilitate the term in the eyes of a new generation. The text, called "narration," is only spoken by an artist who in certain cases was chosen from among the radio announcers. Naturally, a man who mastered the art of pronouncing phrases and words clearly, using the correct accents, was preferred to an artist who was alone with the microphone for the first time. "The announcer reads someone else's text from the sheet. He is the violinist, the performer of someone else's work.

And the creator of this work is the author, playwright, journalist. At best, the announcer manages to take on the person of the author, to impersonate him as an actor, but never to become him. This represents one form of the conventionality of the screen work, rather than a literal replacement of one by the other. Voice-over narration, written in the third person, is better to call in justice "the author's text" or "author's verbal commentary. By the way, in feature films it is so called.