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again — " tells the audience in advance what they are going
to see. It is equally unsatisfactory to say ". . . he did it
again" after everyone has seen it happen. Greater impact
comes from a commentary in the present tense — "... here
he goes again". But obviously this must be spoken in step
with the picture and the permissible timing error is less than
one second.
For more serious subjects also the present tense is more
attractive. For describing processes, it is ideal —
"He selects only straight-grained pieces for the ribs. Knots and bruises weaken the frame."
Notice too, that this is in the active voice. Using the passive voice —
"Only straight-grained pieces are used for the ribs, the frame is weakened by knots and bruises."
— the commentary is less personal, less interesting and appreciably longer.
Films of an historical nature inevitably call for the past tense. If the film is the record of a particular cruise in a particular year, you will say, "As we came into the harbour . . ." But if it is a travelogue, a picture of a typical cruise, you still use the present tense — "As we come into the harbour . . ."
Fluency
Although your commentary should not be continuous, it must not move along in jerks either. Each sentence should follow naturally from its predecessor. After a period of silence, a new passage must arise naturally from the picture.
Suppose for example, the film depicts a village since destroyed by an avalanche. It is somewhat abrupt to present the audience with :
"We spent the weekend at Einmal. The whole village was destroyed by an avalanche two years later."
The two sentences are unconnected. Also the audience 120