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 Iwona Mazur from Adam Mickiewicz University
in Poznan, Poland.
In this ADLAB PRO video I will talk about recording.
This is Unit 10 "Screen AD: recording"
in Module 2 "Screen AD".
AD can be recorded by the audio describer him or herself,
a voice talent or using a synthetic voice.
In this video we will focus on recording AD by a voice talent.
If AD is to be read by a voice talent,
the AD script must be carefully prepared
to ensure synchrony and proper intonation.
There are a number of tools that you can use for this purpose,
including timecodes, keywords, formatting and instructions.
We will now discuss them one by one.
Timecodes specify the exact time in a film
when the audio describer should start reading the AD.
A timecode will normally include minutes and seconds
as well as hours for longer productions.
A keyword can be the last sentence in a dialogue
or a characteristic sound, which precede a given description.
Writing it down in your script will help the voice talent
know when they should start reading the AD.
When formatting the AD script, you may consider
separating your text from other elements of the script
using a different font size, style or colour.
You may give instructions to the voice talent
concerning how particular text segments
should be read out, for example: “more emphatically”.
You can also provide some more general advice
at the beginning of your script.
The voice qualities of voice talents
should match the film’s genre or style.
For instance, a male voice may be more appropriate for a horror film,
while in a romantic comedy a female voice may sound better.
Before recording the AD script, the voice talent should read it
to make sure it is synchronous with the film.
It is also crucial to check if the timecodes
in the AD script and the film are the same.
The recording of the script usually takes place at a recording studio.
In addition to a voice talent,
there are usually a sound director and a sound designer present.
And sometimes the audio describer, too.
The sound director oversees the way the AD is read
in terms of its speed, intonation, synchrony, etc.,
whereas the sound designer sees to the smooth running
of all the technical aspects of the recording.
The audio describer, on the other hand,
may advise the voice talent on how to read the script
and be there for any last minute changes in the AD.
Once the AD recording is ready,
the sound designer will mix it with the original film soundtrack.
It is highly important to match the volume levels of both
the AD track and the original soundtrack
so that they blend in nicely
and provide a pleasurable experience for persons with sight loss.
To prepare this video I used the chapter on technical issues
in the ADLAB guidelines. Read it, if you want to find out more.
This was a broad overview of AD recording.
I hope you have some interesting things about the topic.
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.