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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
I will discuss AD voicing.

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This is Unit 9 in Module 1,
"AD: General Introduction".

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In this unit, we will discuss
the following topics:

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Why is voicing important for AD?

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Who voices AD?

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What constitutes
good voicing in AD?

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Why is voicing important for AD?

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Speech is about
more than words alone

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and this so-called
para-linguistic information

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can have a great influence
on meaning and enjoyment.

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Particularly in Audio Description,

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where time is everything
and you only have a few words

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to get your message across.

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As Joel Snyder, US AD pioneer,
phrased it, and I quote:

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‘we make meaning with our voices.’

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As a result, voicing is almost
always done by trained

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and professional voice talents.

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However, in some contexts,
such as live theatre,

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describers voice
their own scripts,

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because they are familiar
with the piece

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and best prepared to deal
with live timing and improvisation.

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Also note that synthetic voices
are sometimes used for AD.

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However, this is still
an experimental technique

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and research is still studying
the contexts

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for which synthetic voices
are appropriate,

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such as documentaries.

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But what constitutes good voicing
in the context of AD?

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Aside from a pleasant voice,
good articulation

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and correct pronunciation,
voice talents

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have to take into account
specific issues.

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In this unit,
I wil discuss prosody,

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delivery style
and microphone technique.

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Prosody includes tone, pace,
emphasis, rhythm,

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pitch, dynamic range
and segmentation.

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For example:

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Emphasis or stress is
an important tool for describers.

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The meaning of a phrase
can be completely reversed

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by changing only the stress.
Consider the following example:

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'It’s not having blue Smarties
that makes me cross'.

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This is very different from:

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'It’s not having blue Smarties
that makes me cross'.

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Another typical prosody issue in AD
is related to tone.

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Rising intonation at the end of
a sentence is typical of questions,

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but can also suggest that a
statement has still to be completed.

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This type of suspension is common
in live description,

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where describers not lower their
sentence at the end of a phrase,

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because they are uncertain
about what is coming next.

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But, it has the effect
of leaving the listener hanging

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and it is often better
to complete the sentence

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and lower your intonation
at the end.

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As well as tone, the pace
of delivery can also be varied

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to suit the scene,
a fast-action sequence benefits

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from a quicker pace,
while a slower delivery

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would be more appropriate
for a lyrical love scene.

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What about delivery style?

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Traditionally,
describers are advised

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to use a neutral delivery style.

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The ITC Guidance, for instance,

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say that, and I quote
“the delivery should be steady,

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unobtrusive
and impersonal in style,

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so that the personality
and views of the describer

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do not colour the programme.”

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However it can be important
to add emotion, excitement,

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lightness of touch at different
points in different programmes

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to suit the mood
and plot development.

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The style should be matched
to the genre of the programme.

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For instance, “where
the background music is menacing,

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the voice should reflect
the tension,

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without becoming melodramatic.

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In comedy,
the narration should be steady

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but delivered with a slight smile
in the voice".

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Finally, microphone technique
also influences

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the quality of AD voicing.

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Key elements to remember are

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to position the microphone
correctly and not to project.

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The microphone does this for you,

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so try to speak
as naturally as possible.

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Finally, it is important to warm-up
and train your voice

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when you will be voicing
an AD.

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For instance, singing exercises,
humming, tongue twisters

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and exercises
to release tension in the jaw

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can all help to ensure that
you do not start unprepared.

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Also, regularly record yourself

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and read out loud frequently
to train your voice.

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Also, make sure to listening back
when you have recorded descriptions

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or ask someone to listen to you
while rehearsing for a live AD,

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in order to identify errors
and problems.

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The information in this unit
is largely based on Louise Fryer’s

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2016 book <i>An Introduction</i>
<i>to Audio Description</i>.

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A must read
if you want to know more!

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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,

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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.