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 Agnieszka Chmiel from Adam Mickiewicz University
in Poznan, Poland.
In this ADLAB PRO video I will present basic information
related to the process of audio description.
This is Unit 2 "Process" in Module 2 "Screen AD".
The workflow for the production of AD
includes 4 main stages.
The first stage includes writing the AD script.
You should first view and analyse the source material.
The first viewing may be blind so that you experience
the source material as people with sight loss would without AD.
The AD script is then written and timed so that it does not interfere
with dialogues and other elements of the soundtrack.
The first stage may be completed by one audio describer,
two, or even a team of three
with a blind consultant advising on particular solutions.
The second stage includes rehearsing the descriptions
with the voice talents and making final changes where appropriate.
Sometimes the writer of the AD script and the voice talents
are one and the same person.
The third stage involves recording the AD
with voice talents or synthetic voices.
Finally, in the fourth stage, AD is mixed
with the original soundtrack in the appropriate format
which may differ for DVD, cinema, festivals, etc.
Proper synchrony is important in AD.
AD should make a natural complement to the film soundtrack.
Sound in film includes speech, dialogues, narration and lyrics,
sound effects and music.
Obvious sounds should not be audio described.
If the sound effect is not easy to identify,
the best option is to name the sound or its source in the AD.
Sounds may be diegetic,
belonging to the reality depicted on the screen,
or non-diegetic, such as music or off-screen voices.
If there are off-screen voices in the film,
determine whether it is clear who is speaking
and whether it is important to know that, and in that case
decide whether a reference in the AD is required.
If the sound is illustrative,
decide if it must be mentioned in AD. For example,
in the case of the sounds characteristic of a restaurant,
the AD of the spatial setting of the scene might be sufficient,
such as "in a restaurant”.
Due to time constraints, audio describers have to prioritise
and choose to include only the most important information in the script.
It is always important to identify the action,
the characters and the setting.
You can add details later if time allows
and if they are important.
Understanding how the plot develops in a film
helps audio describers decide what is important.
This is why audio describers should be active “see-ers”.
If you want to find out more, I recommend reading
the ADLAB guidelines “Pictures painted in words”
and Joel Snyder’s article.
I hope you have learned some interesting things
about the process of audio description from this video. Bye!
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 person 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.