This is an ADLAB PRO video.
ADLAB PRO is a project funded by the European Union.
This video is made available to you
on a Creative Commons licence.
-Hello. I’m Nina Reviers, from the University of Antwerp,
and in this ADLAB PRO video I will discuss AD voicing.
This is Unit 9 in Module 1, "AD: General Introduction".
In this unit, we will discuss the following topics:
Why is voicing important for AD?
Who voices AD?
What constitutes good voicing in AD?
Why is voicing important for AD?
Speech is about more than words alone
and this so-called para-linguistic information
can have a great influence on meaning and enjoyment.
Particularly in Audio Description,
where time is everything and you only have a few words
to get your message across.
As Joel Snyder, US AD pioneer, phrased it, and I quote:
‘we make meaning with our voices.’
As a result, voicing is almost always done by trained
and professional voice talents.
However, in some contexts, such as live theatre,
describers voice their own scripts,
because they are familiar with the piece
and best prepared to deal with live timing and improvisation.
Also note that synthetic voices are sometimes used for AD.
However, this is still an experimental technique
and research is still studying the contexts
for which synthetic voices are appropriate,
such as documentaries.
But what constitutes good voicing in the context of AD?
Aside from a pleasant voice, good articulation
and correct pronunciation, voice talents
have to take into account specific issues.
In this unit, I wil discuss prosody,
delivery style and microphone technique.
Prosody includes tone, pace, emphasis, rhythm,
pitch, dynamic range and segmentation.
For example:
Emphasis or stress is an important tool for describers.
The meaning of a phrase can be completely reversed
by changing only the stress. Consider the following example:
'It’s not having blue Smarties that makes me cross'.
This is very different from:
'It’s not having blue Smarties that makes me cross'.
Another typical prosody issue in AD is related to tone.
Rising intonation at the end of a sentence is typical of questions,
but can also suggest that a statement has still to be completed.
This type of suspension is common in live description,
where describers not lower their sentence at the end of a phrase,
because they are uncertain about what is coming next.
But, it has the effect of leaving the listener hanging
and it is often better to complete the sentence
and lower your intonation at the end.
As well as tone, the pace of delivery can also be varied
to suit the scene, a fast-action sequence benefits
from a quicker pace, while a slower delivery
would be more appropriate for a lyrical love scene.
What about delivery style?
Traditionally, describers are advised
to use a neutral delivery style.
The ITC Guidance, for instance,
say that, and I quote “the delivery should be steady,
unobtrusive and impersonal in style,
so that the personality and views of the describer
do not colour the programme.”
However it can be important to add emotion, excitement,
lightness of touch at different points in different programmes
to suit the mood and plot development.
The style should be matched to the genre of the programme.
For instance, “where the background music is menacing,
the voice should reflect the tension,
without becoming melodramatic.
In comedy, the narration should be steady
but delivered with a slight smile in the voice".
Finally, microphone technique also influences
the quality of AD voicing.
Key elements to remember are
to position the microphone correctly and not to project.
The microphone does this for you,
so try to speak as naturally as possible.
Finally, it is important to warm-up and train your voice
when you will be voicing an AD.
For instance, singing exercises, humming, tongue twisters
and exercises to release tension in the jaw
can all help to ensure that you do not start unprepared.
Also, regularly record yourself
and read out loud frequently to train your voice.
Also, make sure to listening back when you have recorded descriptions
or ask someone to listen to you while rehearsing for a live AD,
in order to identify errors and problems.
The information in this unit is largely based on Louise Fryer’s
2016 book An Introduction to Audio Description.
A must read if you want to know more!
-The preparation of this presentation
was supported by ADLAB PRO. Audio Description:
A Laboratory for the Development of a New Professional Profile
financed by the European Union
under the Erasmus+ Programme,
Key Action 2,
Strategic Partnerships.
Project number:
2016-1-IT02
KA203-024311.
The information and views set out in this presentation
are those of the authors and do not necessarily reflect
the official opinion of the European Union.
Neither the European Union institutions and bodies
nor any persona acting on their behalf
may be held responsible for the use
which may be made of the information contained therein.
This was an ADLAB PRO video.
ADLAB PRO partners are:
University of Trieste,
Universitat Autònoma de Barcelona,
University of Antwerp,
Adam Mickiewicz University,
RTV Slovenia,
Utopian Voices,
Soundfocus and Royal National Institute of Blind People.
ADLAB PRO was funded by the European Union.
This video was made available to you
on a Creative Commons licence.