1 00:00:00,400 --> 00:00:02,680 This is an ADLAB PRO video. 2 00:00:02,760 --> 00:00:06,080 ADLAB PRO is a project funded by the European Union. 3 00:00:06,160 --> 00:00:08,200 This video is made available to you 4 00:00:08,280 --> 00:00:09,960 on a Creative Commons licence. 5 00:00:11,160 --> 00:00:15,120 Hello. I’m Agnieszka Chmiel from Adam Mickiewicz University 6 00:00:15,200 --> 00:00:16,960 in Poznan, Poland. 7 00:00:17,040 --> 00:00:20,920 In this ADLAB PRO video I will present basic information 8 00:00:21,000 --> 00:00:24,000 related to the process of audio description. 9 00:00:24,440 --> 00:00:29,120 This is Unit 2 "Process" in Module 2 "Screen AD". 10 00:00:30,040 --> 00:00:33,440 The workflow for the production of AD 11 00:00:33,520 --> 00:00:36,000 includes 4 main stages. 12 00:00:37,280 --> 00:00:41,120 The first stage includes writing the AD script. 13 00:00:41,200 --> 00:00:45,040 You should first view and analyse the source material. 14 00:00:45,120 --> 00:00:48,480 The first viewing may be blind so that you experience 15 00:00:48,560 --> 00:00:53,360 the source material as people with sight loss would without AD. 16 00:00:55,400 --> 00:01:00,200 The AD script is then written and timed so that it does not interfere 17 00:01:00,280 --> 00:01:03,480 with dialogues and other elements of the soundtrack. 18 00:01:04,600 --> 00:01:08,240 The first stage may be completed by one audio describer, 19 00:01:08,320 --> 00:01:10,520 two, or even a team of three 20 00:01:10,640 --> 00:01:14,600 with a blind consultant advising on particular solutions. 21 00:01:16,600 --> 00:01:19,840 The second stage includes rehearsing the descriptions 22 00:01:19,920 --> 00:01:23,920 with the voice talents and making final changes where appropriate. 23 00:01:24,480 --> 00:01:28,280 Sometimes the writer of the AD script and the voice talents 24 00:01:28,360 --> 00:01:30,480 are one and the same person. 25 00:01:31,280 --> 00:01:34,200 The third stage involves recording the AD 26 00:01:34,280 --> 00:01:36,920 with voice talents or synthetic voices. 27 00:01:39,040 --> 00:01:42,320 Finally, in the fourth stage, AD is mixed 28 00:01:42,440 --> 00:01:45,880 with the original soundtrack in the appropriate format 29 00:01:45,960 --> 00:01:50,480 which may differ for DVD, cinema, festivals, etc. 30 00:01:52,080 --> 00:01:55,440 Proper synchrony is important in AD. 31 00:01:55,520 --> 00:01:59,920 AD should make a natural complement to the film soundtrack. 32 00:02:01,600 --> 00:02:06,400 Sound in film includes speech, dialogues, narration and lyrics, 33 00:02:06,480 --> 00:02:08,520 sound effects and music. 34 00:02:10,560 --> 00:02:13,720 Obvious sounds should not be audio described. 35 00:02:13,800 --> 00:02:16,960 If the sound effect is not easy to identify, 36 00:02:17,040 --> 00:02:21,840 the best option is to name the sound or its source in the AD. 37 00:02:23,520 --> 00:02:26,000 Sounds may be diegetic, 38 00:02:26,080 --> 00:02:29,200 belonging to the reality depicted on the screen, 39 00:02:29,280 --> 00:02:33,920 or non-diegetic, such as music or off-screen voices. 40 00:02:35,800 --> 00:02:38,520 If there are off-screen voices in the film, 41 00:02:38,600 --> 00:02:41,240 determine whether it is clear who is speaking 42 00:02:41,320 --> 00:02:45,000 and whether it is important to know that, and in that case 43 00:02:45,080 --> 00:02:48,760 decide whether a reference in the AD is required. 44 00:02:50,840 --> 00:02:53,160 If the sound is illustrative, 45 00:02:53,240 --> 00:02:57,400 decide if it must be mentioned in AD. For example, 46 00:02:57,520 --> 00:03:01,040 in the case of the sounds characteristic of a restaurant, 47 00:03:01,120 --> 00:03:04,960 the AD of the spatial setting of the scene might be sufficient, 48 00:03:05,080 --> 00:03:07,080 such as "in a restaurant”. 49 00:03:08,920 --> 00:03:12,840 Due to time constraints, audio describers have to prioritise 50 00:03:12,920 --> 00:03:17,720 and choose to include only the most important information in the script. 51 00:03:19,080 --> 00:03:22,280 It is always important to identify the action, 52 00:03:22,400 --> 00:03:24,800 the characters and the setting. 53 00:03:24,880 --> 00:03:27,840 You can add details later if time allows 54 00:03:27,960 --> 00:03:30,080 and if they are important. 55 00:03:31,760 --> 00:03:34,720 Understanding how the plot develops in a film 56 00:03:34,800 --> 00:03:38,400 helps audio describers decide what is important. 57 00:03:38,840 --> 00:03:43,640 This is why audio describers should be active “see-ers”. 58 00:03:45,200 --> 00:03:48,560 If you want to find out more, I recommend reading 59 00:03:48,640 --> 00:03:52,120 the ADLAB guidelines “Pictures painted in words” 60 00:03:52,200 --> 00:03:54,520 and Joel Snyder’s article. 61 00:03:55,760 --> 00:03:58,240 I hope you have learned some interesting things 62 00:03:58,320 --> 00:04:02,560 about the process of audio description from this video. Bye! 63 00:04:04,160 --> 00:04:06,280 The preparation of this presentation 64 00:04:06,360 --> 00:04:09,960 was supported by ADLAB PRO. Audio Description: 65 00:04:10,040 --> 00:04:13,680 A Laboratory for the Development of a New Professional Profile 66 00:04:13,800 --> 00:04:18,080 financed by the European Union under the Erasmus+ Programme, 67 00:04:18,160 --> 00:04:21,440 Key Action 2, Strategic Partnerships. 68 00:04:21,520 --> 00:04:22,720 Project number: 69 00:04:22,800 --> 00:04:31,160 2016-1-IT02-KA203-024311. 70 00:04:31,720 --> 00:04:35,040 The information and views set out in this presentation 71 00:04:35,120 --> 00:04:38,160 are those of the authors and do not necessarily reflect 72 00:04:38,240 --> 00:04:41,320 the official opinion of the European Union. 73 00:04:41,400 --> 00:04:44,760 Neither the European Union institutions and bodies 74 00:04:44,840 --> 00:04:47,360 nor any person acting on their behalf 75 00:04:47,440 --> 00:04:49,280 may be held responsible for the use 76 00:04:49,360 --> 00:04:52,160 which may be made of the information contained therein. 77 00:04:52,320 --> 00:04:54,320 This was an ADLAB PRO video. 78 00:04:54,400 --> 00:04:58,040 ADLAB PRO partners are: University of Trieste, 79 00:04:58,120 --> 00:05:01,120 Universitat Autònoma de Barcelona, 80 00:05:01,200 --> 00:05:05,200 University of Antwerp, Adam Mickiewicz University, 81 00:05:05,280 --> 00:05:08,280 RTV Slovenia, Utopian Voices, 82 00:05:08,360 --> 00:05:12,560 Soundfocus and Royal National Institute of Blind People. 83 00:05:12,640 --> 00:05:15,600 ADLAB PRO was funded by the European Union. 84 00:05:15,680 --> 00:05:17,360 This video was made available to you 85 00:05:17,440 --> 00:05:19,200 on a Creative Commons licence.