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This is an ADLAB PRO video.

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ADLAB PRO is a project funded
by the European Union.

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This video is made available
to you

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on a Creative Commons licence.

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-Hello. I’m Nina Reviers,
from the University of Antwerp,

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and in this
ADLAB PRO video

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I will describe
the audio description work process.

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This is Unit 5 in Module 1,

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"AD: General Introduction".

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Creating an audio described product
or event is a complex undertaking.

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It requires skilful project
management and good teamwork.

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In this unit,
I identify the parameters

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that determine the AD workflow,
the different stages involved

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and I discuss the role
of the specialists in each stage.

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How the AD workflow is organised

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and the experts
that need to be involved

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depends on a few parameters.

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First, the type of product
you are describing.

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Is it a recorded form of AD
for film

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or a description of a live
performance, for instance?

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Second, the additional services
required.

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Do you need to plan
for an audio-introduction

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or include the creation
of audio-subtitles, as well?

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Third, the creation approach
adopted by the provider.

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Will the AD be created in what
is called post-production,

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after the film or performance
is finalised,

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or will the AD be created
in parallel

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to the original source material?

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An approach usually called
“accessible filmmaking”,

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but which of course
can also be applied to live-AD.

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Then it is often called
“integrated AD”.

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Fourth, project managers
have to take into account

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the technical requirements
as well.

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For instance, the type of technology
used to distribute the AD.

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Finally, the number
of people involved

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and the scale of the AD workflow
also depends

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on the scope of the project
in terms of time and budget.

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Depending on
the above parameters,

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a tailor-made workflow
can be developed.

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Such a workflow,
for any type of AD context,

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usually includes
the following stages:

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preparation, scripting,
voicing,

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mixing or performing,
quality control and feedback.

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The preparation stage includes
determining the type of AD,

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whether additional services
are required,

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what the technical needs are,

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what the creation approach
will be

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and what the scope
of the project is.

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The scripting stage involves
creating what is usually called

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the AD-script: a written
and timed preparation

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of the descriptions
that will be included in the AD.

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Scripting involves
thorough source text analysis,

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timing and writing
the descriptions

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and includes reviewing
and final editing as well.

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The voicing stage includes selecting
appropriate voices

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to read the AD-script, rehearsing
the script with the voices

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and making final changes
where necessary.

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For recorded AD, this also includes
recording the descriptive units.

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The next stage includes mixing
the recorded voices

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with the original soundtrack
in the case of recorded AD

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or performing the AD live
in the case of live events.

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Finally, it is important
to integrate quality control

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in the AD process.

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Quality control needs
to be organised after each stage

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so that changes can be made
accordingly and in a timely manner.

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After all, mistakes in the AD-script
are difficult to put right,

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once the voices are recorded
and mixed.

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Gathering feedback from both the
production team and from users

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is an essential step
towards quality improvement

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and it is strongly advised
to plan for this in advance.

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Now, you may be wondering
who is involved

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in these different stages
I just described?

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This depends, again,
on the context

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and varies from involving
a single describer

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to requiring the input
of a whole team.

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We can broadly distinguish
three groups:

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First, the organiser.

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Second, the artistic team
and third the AD-team.

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The organiser or initiator
of an AD project

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can be a film production company,
a broadcaster,

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a theatre company,
a cultural venue,

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a sports organisation
or a museum curator.

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They are usually involved
in the preparation stage

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and organising feedback.

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The artistic team, includes
all people involved in creating

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the original audiovisual product
that is being described.

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Think of directors
and their assistants, actors,

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directors of photography
and sound designers,

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costume and stage designers,
scriptwriters, artists.

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The artistic team is not always
directly involved

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in the AD-creation process,
but their input

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in the scripting stage
can be particularly useful.

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Finally, the AD team minimally
consists of an Audio describer,

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but can additionally include
a final editor,

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a visually impaired AD advisor,
an AD director,

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AD voice talents
and an AD sound technician.

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They are the core team
in the AD work process

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and are ideally involved
in all stages,

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from preparation to quality
control and feedback.

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It has become clear that creating
an Audio Description

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is a combined effort
and requires great teamwork!

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-The preparation
of this presentation

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was supported by ADLAB PRO.
Audio Description:

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A Laboratory for the Development
of a New Professional Profile

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financed by the European Union

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under the Erasmus+ Programme,

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Key Action 2,

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Strategic Partnerships.

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Project number:

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2016-1-IT02

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KA203-024311.

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The information and views
set out in this presentation

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are those of the authors
and do not necessarily reflect

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the official opinion
of the European Union.

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Neither the European Union
institutions and bodies

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nor any persona acting
on their behalf

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may be held responsible
for the use

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which may be made of
the information contained therein.

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This was an ADLAB PRO video.

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ADLAB PRO partners are:

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University of Trieste,

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Universitat Autònoma de Barcelona,

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University of Antwerp,

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Adam Mickiewicz University,

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RTV Slovenia, Utopian Voices,

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Soundfocus and Royal National
Institute of Blind People.

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ADLAB PRO was funded
by the European Union.

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This video was made available
to you

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on a Creative Commons licence.