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 --> 00:00:10,000
This video is made available to you
on a Creative Commons licence.

4
00:00:10,280 --> 00:00:15,080
Hi, I'm Anna Jankowska from UAB.
In this ADLAB PRO video

5
00:00:15,160 --> 00:00:17,960
I will talk
about accessible productions.

6
00:00:18,040 --> 00:00:20,320
This is Unit 7 in Module 6.

7
00:00:20,560 --> 00:00:25,000
Current distribution workflows
usually relegate AD

8
00:00:25,080 --> 00:00:27,480
to the postproduction process.
Very often,

9
00:00:27,560 --> 00:00:32,360
because of how the film is edited,
it is not possible to insert AD.

10
00:00:32,440 --> 00:00:35,720
There is simply
not enough space between dialogues.

11
00:00:35,800 --> 00:00:40,080
AD is scripted by describers
who are not part of the creative team.

12
00:00:40,160 --> 00:00:42,720
They don' t work alongside
with the film director,

13
00:00:42,800 --> 00:00:46,800
director of photography,
editor, screenwriter or producer.

14
00:00:46,960 --> 00:00:50,600
The creative team
does not supervise the AD script.

15
00:00:50,680 --> 00:00:52,760
And because of that
it is possible

16
00:00:52,840 --> 00:00:57,240
that the director's artistic vision
might be altered in the AD script.

17
00:00:57,440 --> 00:00:59,520
What if a different approach
was possible?

18
00:00:59,600 --> 00:01:03,080
Some researchers have already
noticed the shortcomings

19
00:01:03,160 --> 00:01:06,080
of the current workflow
of making films accessible.

20
00:01:06,320 --> 00:01:10,640
Udo and Fels noticed
that the way AD is prepared now

21
00:01:10,720 --> 00:01:13,840
is far from the principles
of Universal Design.

22
00:01:14,040 --> 00:01:17,920
Benvenuto points out that
the constraints of film production

23
00:01:18,000 --> 00:01:21,520
restrain the choices available
to describers

24
00:01:21,600 --> 00:01:24,640
and shows that a film,
from the very beginning,

25
00:01:24,720 --> 00:01:27,280
can be developed
with AD in mind.

26
00:01:27,480 --> 00:01:30,240
Finally, Romero-Fresco underlines

27
00:01:30,320 --> 00:01:33,680
that describers should be part
of the creative team.

28
00:01:33,920 --> 00:01:38,240
This new approach put forward
by the researchers I mentioned before

29
00:01:38,320 --> 00:01:40,480
is known
as accessible filmmaking.

30
00:01:40,680 --> 00:01:44,760
Accessible filmmaking is a term
coined by Romero-Fresco,

31
00:01:44,920 --> 00:01:48,600
who defines it
as "Integration of AVT

32
00:01:48,680 --> 00:01:52,520
and accessibility as part
of the filmmaking process”.

33
00:01:52,720 --> 00:01:56,520
Accessible filmmaking
does not only cover AD

34
00:01:56,600 --> 00:01:59,640
but also subtitling
for the deaf and hard of hearing,

35
00:01:59,760 --> 00:02:02,280
subtitling, dubbing or voice-over.

36
00:02:02,360 --> 00:02:05,880
But in this presentation
we will talk only about AD.

37
00:02:06,120 --> 00:02:08,640
You can read more
about accessible filmmaking

38
00:02:08,720 --> 00:02:12,520
in Romero-Fresco’s article:
"Accessible filmmaking:

39
00:02:12,600 --> 00:02:15,440
Joining the dots
between audiovisual translation,

40
00:02:15,520 --> 00:02:17,600
accessibility and filmmaking."

41
00:02:17,760 --> 00:02:21,400
Accessible filmmaking means
that AD should be planned

42
00:02:21,480 --> 00:02:25,280
at the preproduction stage,
so that from the very begining

43
00:02:25,360 --> 00:02:29,120
there is enough space
in the film to include AD.

44
00:02:29,200 --> 00:02:33,400
Some changes can be made also
in postproduction.

45
00:02:33,480 --> 00:02:35,760
For example,
during film editing.

46
00:02:35,960 --> 00:02:40,360
Additional images can be added to
include more dialogue-free content.

47
00:02:40,680 --> 00:02:43,960
Also some dialogues
can be moved on timeline

48
00:02:44,040 --> 00:02:47,240
to make space for AD.
Last but not least,

49
00:02:47,320 --> 00:02:50,680
the describer should receive
as much information about the film

50
00:02:50,760 --> 00:02:55,560
as possible from the creative team,
and if possible interact with them.

51
00:02:55,840 --> 00:02:59,400
Accessible filmmaking
is not only an academic concept.

52
00:02:59,480 --> 00:03:03,000
The industry seems to be
slowly opening to this idea.

53
00:03:03,480 --> 00:03:07,240
The first accessible film
in English that integrated AD

54
00:03:07,320 --> 00:03:11,880
from the very beginning
is "Drive" from 1997.

55
00:03:11,960 --> 00:03:16,560
It was directed
by a blind filmmaker, Raina Haig.

56
00:03:17,040 --> 00:03:20,720
More recently,
a UK based company, Screen,

57
00:03:20,800 --> 00:03:25,160
is advocating to include describers
in the filmmaking process.

58
00:03:25,640 --> 00:03:29,520
Also the Flemish
public broadcaster VRT

59
00:03:29,600 --> 00:03:31,840
is trying to include AD both

60
00:03:31,920 --> 00:03:35,720
in the pre and postproduction
stages for some of the programmes.

61
00:03:36,160 --> 00:03:40,960
In 2002 the Spanish public broadcaster
showed "Nicolás".

62
00:03:41,240 --> 00:03:43,920
In this cartoon series
for children,

63
00:03:44,000 --> 00:03:46,880
AD was planned
from the very beginning.

64
00:03:47,120 --> 00:03:49,760
The need to bridge the gap
between filmmakers

65
00:03:49,840 --> 00:03:54,280
and describers is also noticed by
institutions that provide training.

66
00:03:54,360 --> 00:03:57,520
Some universities
already include accessibility

67
00:03:57,600 --> 00:04:01,800
in their filmmaking courses:
for example, Kingston University

68
00:04:01,880 --> 00:04:04,240
and Central School of Drama
in the UK

69
00:04:04,320 --> 00:04:07,680
and University of Valladolid
in Spain. On the other hand,

70
00:04:07,920 --> 00:04:12,720
AVT and accessibility courses
have started to include filmmaking.

71
00:04:13,040 --> 00:04:17,360
The University of Roehampton
in the UK can be one of the examples.

72
00:04:17,560 --> 00:04:20,040
Let me finish with a quote
from Raina Haig:

73
00:04:20,120 --> 00:04:23,440
"You have a group of artists:
writer, director, actors,

74
00:04:23,520 --> 00:04:27,920
designers, who collaborate
on a creative project, the film.

75
00:04:28,000 --> 00:04:31,080
Well, the audio describer,
to my mind,

76
00:04:31,200 --> 00:04:34,240
is just one more participant
in that project,

77
00:04:34,360 --> 00:04:38,920
and how can they work as part
of an otherwise highly qualified team,

78
00:04:39,000 --> 00:04:42,200
without a sound basis
in how film works?

79
00:04:42,280 --> 00:04:45,320
I'd like to see screen writers
and filmmakers

80
00:04:45,400 --> 00:04:48,120
training and working
as audio describers."

81
00:04:50,280 --> 00:04:52,440
The preparation
of this presentation

82
00:04:52,520 --> 00:04:56,120
was supported by ADLAB PRO.
Audio Description:

83
00:04:56,200 --> 00:04:59,840
A Laboratory for the Development
of a New Professional Profile

84
00:04:59,960 --> 00:05:04,240
financed by the European Union
under the Erasmus+ Programme,

85
00:05:04,320 --> 00:05:07,600
Key Action 2,
Strategic Partnerships.

86
00:05:07,680 --> 00:05:08,880
Project number:

87
00:05:08,960 --> 00:05:17,320
2016-1-IT02-KA203-024311.

88
00:05:17,800 --> 00:05:21,120
The information and views
set out in this presentation

89
00:05:21,200 --> 00:05:24,240
are those of the authors
and do not necessarily reflect

90
00:05:24,320 --> 00:05:27,400
the official opinion
of the European Union.

91
00:05:27,480 --> 00:05:30,840
Neither the European Union
institutions and bodies

92
00:05:30,920 --> 00:05:33,440
nor any person acting
on their behalf

93
00:05:33,520 --> 00:05:35,360
may be held responsible
for the use

94
00:05:35,440 --> 00:05:38,000
which may be made of
the information contained therein.

95
00:05:38,320 --> 00:05:40,320
This was an ADLAB PRO video.

96
00:05:40,400 --> 00:05:44,040
ADLAB PRO partners are:
University of Trieste,

97
00:05:44,120 --> 00:05:47,120
Universitat Autònoma
de Barcelona,

98
00:05:47,200 --> 00:05:51,200
University of Antwerp,
Adam Mickiewicz University,

99
00:05:51,280 --> 00:05:54,280
RTV Slovenia,
Utopian Voices,

100
00:05:54,360 --> 00:05:58,560
Soundfocus and Royal National
Institute of Blind People.

101
00:05:58,640 --> 00:06:01,600
ADLAB PRO was funded
by the European Union.

102
00:06:01,680 --> 00:06:05,440
This video was made available to you
on a Creative Commons licence.