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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
on a Creative Commons licence.

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Hello. I’m Louise Fryer,
from Utopian Voices.

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In this ADLAB PRO video
I will give an overview

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of the workflow in the traditional
audio description of live events.

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This is Unit 6 in Module 3.

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Describers will be contacted by
a theatre or a production company.

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You’ll need to agree what model
of AD they want you to provide:

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a traditional
or an integrated approach

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and using one or more describers.

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You’ll need to negotiate
a fee and organise for them

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to provide the tools
you need. These are:

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a programme either in hard copy
or an electronic one,

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tickets to watch the show,
a video of the show,

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an e-version script if available.

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You’ll also need
to agree a date for a dry run

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and whether or not
people with sight loss can attend.

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Then go to watch a live performance.
Take notes on the sets,

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characters
and costumes for the AI

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and notes
of any on-stage action

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that you think
might be hard to see on a video.

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You might also meet
the Stage Manager

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and walk the set before the show.
The next stage is to write the AI,

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usually in collaboration
with another describer.

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The AI is recorded three weeks
before the described performance.

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Send your script in advance
to the recording engineer

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and the producer if there is one.
It is usually up to the theatre

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to distribute the AI
or upload it to their website.

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The dry run usually takes place
the night before the performance

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or earlier for more complex shows
such as dance or opera,

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the technicians should have set up
the equipment before you arrive.

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About an hour before the show
starts, carry out a sound check.

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After the dry run,
you will have a debriefing session

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to discuss your AD script
with whoever was listening.

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On the day of the AD performance,
arrive early for the Touch Tour.

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Before the performance
carry out another sound check.

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If there’s to be more than one
described performance of the show,

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note any changes as you go.

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At the end of the show, announce
the next described production.

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After the performance, report any
technical issues to the technicians,

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pick up any feedback you can,
from Front of House staff

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or direct from users.

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All of the following might be
involved in an AD performance:

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An access officer,
sound technicians,

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recording engineer or producer,
Front of House Manager,

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Stage Manager,
Assistance Ushers,

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AD users or evaluators,
describers.

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The buck stops with the Describers.

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You are not responsible
for all the steps,

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but you need to check
that all the steps are covered

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by ensuring the venue knows
what to expect and what to provide.

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The whole process takes place
over a much longer time period

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than writing AD for screen.
For a long-running show,

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the work may begin three to four
weeks before the performance.

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You may be booked
several months before.

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In some places, you have to
turn it around much more quickly.

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That might mean seeing it in another
venue if it’s a touring production,

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or watching a performance
on a Tuesday night

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with the dry run
on the Friday evening

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and the described performance
on the Saturday.

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Some theatres record
the AD performance,

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so the AD can be triggered live at
future performances by a technician.

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Some French theatres
use this “semi-live approach”.

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This will require
a different way of working.

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An integrated approach
involves the describer in rehearsals

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and more conversations
with members of the company.

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That was unit 6 “Workflow” in
Module 3 “Describing live events”.

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With me Louise Fryer.

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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
under the Erasmus+ Programme,

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Key Action 2,
Strategic Partnerships.

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Project number:

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2016-1-IT02-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 person 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:
University of Trieste,

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Universitat Autònoma
de Barcelona,

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University of Antwerp,
Adam Mickiewicz University,

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RTV Slovenia,
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
on a Creative Commons licence.