The Voice In Your Ear - Musings and Facts About Audio Description

It's been a while since I've posted here.  But I think it's high time I produced at least a couple of articles regarding Audio Description and Described Video.

For some time now, especially in the last couple of years, I have been working as an audio describer full time.

Me at work, wearing headphones, sitting in front of a mic.

I am the voice in your ear.  whether it's a live event - such as a play - an accessible gallery exhibit, or a film: even that hokey reality show you were always curious about, but never really got before. Chances are, here in Canada anyway, that you have heard me at some point providing audio description for these things.

What is audio description? (one might ask who is unfamiliar with the techniques)

Audio Description (video description) (AD\DV) provides narration of the visual elements— action, costumes, settings, and the like—of theatre, television/film, museums exhibitions, and other events.
The technique allows those who are blind or have low-vision the opportunity to experience arts events more completely—the visual is made verbal.

A describer speaks in the silences between dialogue and must be concise and accurate with their words.

Just to dispel any confusion - this is not the same thing as Captioning or ASL,  which is are devices unto themselves with their own rules and techniques.  I often get calls asking me to do ASL for shows.  Sadly, this is not a skill I possess.  Those callers  (yes, the produces of the shows) have no clue what the difference is.  They're just looking for someone to do the work because someone decided to make the show accessible.  Having no idea about accommodation, or the needs of disabled people, they get terribly confused when I try to 'splain the difference. They have a hard time wrapping their heads around the fact that not seeing is very different from not hearing.

While the process of describing each of these examples is a bit different respectively, it serves the same overall purpose: to open up a world that has remained closed to many for so long.

So, now that I have a good deal of experience under my belt I feel that I am more than qualified to speak up about some things - a reality check as it were - on the state of the practive, and where, I personally, think it should go in future.

Just a note of interest: I am probably the only vision impaired describer in Canada, if not in the entire world.  I can't confirm that, but I'm fairly confident of it. I'd love to know if there is anyone else. I'm used to that.  In all my years of working in the arts, not a whole lot of blind folks have been involved in the arts on a professional level - at least not in Canada.   This is due to isolation, non inclusive practices, and a whole plethora of reasons and excuses.  The silence of blind people in this country is deafening when it comes to the arts, and participation in inclusion issues in general. But this is a different subject.  I've only met a handful of blind people who have made the arts their calling, sadly. And I speak purely from a Canadian perspective. I know situations differ in other countries.

You may think this is a pretty weird profession for someone who is legally blind.  Admittedly, yes, it is a bit strange.  But I absolutely love it - and I have a very unique perspective.  I understand intimately what is required regarding the information I need to convey to the audience.   And now it has become a passion - and, may the gods help me, a mission. I have become an advocate.

In this post I will start by explaining how the AD\DV process works breaking it down into three categories: Live Describe (live events such as sports, theatre and presentations). Described Video (Film and Television) and finally pre-recorded events such as guided tours and gallery and museum exhibits.

LIVE DESCRIBE
Let's clear something up.  Live audio description is NOT done on the fly - unless it is a sports event or something unscripted and is happening in real time.  Not to be confused with colour commentary, which is something completely different.

Live performance: a band on stage in a large concert venue.  

Generally, the describer follows a script that has been developed along with, in the case of theatre, the script of the show being performed.  They are usually out of view of the audience, and speak through an FM headset.   Those using the service are seated in the house and listen through headphones to the describer.

The AD script is developed (usually) by the describer who attends several rehearsals and previews of the show.  This script not only contains descriptions of the show but has Pre Show Notes read by the describer prior to curtain.  These notes describe characters, costumes, set, program notes, etc.  Visual elements of the show that time does note permit describing during the action. These start about 15 minutes before curtain.  So, it is important to arrive nice and early so that you don't miss out.

Other live events, such as sports (especially) require a different kind of prep.  IMHO sports is an entire entity unto itself.  I don't think it would be my strong point.  You would have to know and understand the rules of the sport, the players, the venue and a whole myriad of things.   When describing, since it's on the fly, you'd have to be very careful not to editorialize like a commentator - that's not your job.  It's what is literally happening that is conveyed.

PRE RECORDED AUDIO DESCRIPTION
This is a rather enjoyable process - depending on the exhibit our tour.  With information provided by the organization or artist a audio tour of the installation is built.  This usually includes pertinent information about the facility as well as the exhibit itself and relevant information about the ehibiters, artist statements etc.

A portrait from the Butternut series.  In a dimly light room
 a romantic,  gothic, red nosed clown stares at her reflection in an
oval gold framed mirror.
                                                     Before here on  a small cake pedestal is a decorated cupcake. On the top of the cupcake is a lit
 birthday candle.  Painting by Wanda Fitzgerald, acrylic on canvas, 

Using this information, a logical progression through the exhibit is scripted, directing the listener on how to move through the exhibit, and providing descriptions of the works or items as they go through the tour.

Often times these tours can be a bit more creative, as music, sound clips and other audio features can be added.

Once the script is complete, it is recorded, and any additional audio features are added.

The final recoding is delivered to the patron on listening device, which could be their own cell phone, or an "audio tour guide" player.

DESCRIBED VIDEO
This includes film, TV, commercials, and documentaries.

A screenshot of a Described Video recording session using ProTools.

Traditionally, I guess, what has been done here is to have someone write a described script with dialogue marked in and out with time codes. Then the script is passed to a recordist, who (usually with the help of an audio engineer) records the timed script.  Then the DV track is given to sound for mixing.

HOWEVER this is grossly inefficient.  It costs way more to produce DV this way and takes a great deal longer.  This "process" is one of the reasons so much goes un described.  The excuse is that it's time consuming and expensive.  And as we all know, money is everything in this business. This is how I was taught that it works.

BUT WAIT! There's another way.  And it's way quicker and cheeper.

One person can do all of this if they have the right skill set.  Well, almost all of it.

As a DV recordist, I am a one woman show.

I receive the finished picture, and using a recording software (in my case Pro Tools) I record the DV track myself.  I follow along with the show, adding in appropriate DV as I go.  With this method I can do 2-3 half hour shows in one day.  1, sometimes two 44 minute shows and it usually takes 2 days to do a feature (90 minutes). Once I'm done, the sound person mixes the finished product.

This is far cheeper, faster, and with a good describer, the finished product can be quite brilliant.

In my next post, I will cover the nuances of these process in more detail, specifically dealing with Described Video..

For now - keep listening.

Process Of The Process

Let me begin this post by saying that it is soooooo refreshing to be working on a live show again!  I have been doing a great deal of photography, film making and descriptive video these days, and have scarcely been involved in anything connected with my true love - THEATRE!   I get a little rush of excitement thinking about it.  I'm excited to go to rehearsals (yes it's true) and it's great to work with theatre people I've never met, and have the pleasure of reacquainting with those I've worked with in the past.

It's also kind of cool to watch the evolution of the cast (who are athletes, not actors) as the director whips them into shape and gets them ready for performance.

We are now into the second week of rehearsals for PUSH!  I must say it is great being included - and welcome to join in on the rehearsal process.  In my own personal experience this rarely happens, if at all.  You usually have to fly by the seat of your pants and do all your prep during dress rehearsal or previews.  In Canada at least, and Toronto in particular in my case, this is due to lack of awareness of the needs of the process, and in general, awareness that this work even exists in the first place.  And sometimes it's just |well, "we have to do this." and accommodation is an intrusion on the "creative " process - and generally a big pain in the ass.

For the most part, when audio description is included in a live event or show - especially in theatre - there is a sort of territorial thing that happens and one is often made to feel as if providing AD and ASL is a big inconvenience to cast and crew.  I don't think this is intentional in most cases, but change is hard - especially in theatre where things have been done a certain way forever.  Although you think it would be just the opposite.

Here I have a unique opportunity to develop the AD script and my own process while the show itself evolves.  Very refreshing.

Although, this still has it's issues.  Mainly as a describer I cannot interfere in the actual development of the performance - ie, timing of the delivery of lines, use of audio visual material etc. Generally, with an existing show or script that does not involve a lot of development this is pretty standard.  The audio describer is an invisible entity hidden away in the booth; unseen, uncredited,  heard by those few with a headset who need to be told what is happening visually on stage.  Thus, the audience, crew and performers are blissfully unaware of the of the poor sod who is trying to insert concise descriptive words into the rapid fire dialogue and action on stage.

In this instance, PUSH! is a staged reading.  The actors sit in a semicircle on stage and read from a script on a stand in front of them.  There is no movement other than a few gestures and facial expressions. There are no set changes.

There is however a HUGE amount of dialogue which conveys six different stories and in order to facilitate the understanding of who is telling what story it is necessary to identify the respective speakers in a succinct manner.

There are also 5 separate video montages.  These are made up of many, many rapid fire clips that only,  last a split second.  In addition to this, there is dialogue from the stage while the video is playing.  So,   often one word descriptions must be fitted in between the performers talking.

As I do this professionally for film and television, I am used to this - except that with live people on stage no two performances are the same.  I don't like to speak over someone, but I also don't like to generalize my description.  What is seen by the general audience MUST be conveyed properly to those who cannot see it.

So when I ask the director if he can modify what the performers are saying, (especially when they aren't conveying any useful info) just a tad, and he says something to the effect of  "Can't you just say something like, "WWII footage and let them imagine what's happening."  I get pissed off.  Not much I can do though, but try to work with  and around it though.  That's the process of the process.  It's hard, and often frustrating.  Especially when there is a perfect opportunity to provide a very high level of access.

Another hurtle here is getting the actual finished visual material in a timely manner.  I need to watch this stuff, identify what exactly it is (this material is very specific, photos of events, specific people etc) and figure out what I can include or omit in the description to best suit the needs of my listeners.

Then there are the performers themselves.  And I have to say they are pretty great.  While they are all athletes, used to being watched by thousands of people from all over the world, they are not actors.  They do not have the experience of stagecraft, or the many years it takes an actor to develop the improvisational, connective and performance skills one usually sees on stage - so that can be a bit daunting. Especially when something like a gesture is different every time it is executed. 

There is also the knowledge - or lack there of of theatre edicate.  Those of us who have worked in the performing arts all our lives just know this stuff instinctively - but newcomers often have no idea what we are talking about when we use theatre terms, or of the processes that have to happen in order for a show to come together.  Or even just the professional conduct one exhibits while working.  But then, the theatre is world unto itself, isn't it?

The dialogue itself is often delivered very quickly.  To me it seems too quickly.  Theatre is about being in the moment and living and  reliving that moment as the story is told.  It's not a race - although, these guys have owned the podium, so I'm sure they are just naturally inclined to go fast :)  There are times when a pause here and there would greatly aid me in my work.

All in all it's shaping up to be a pretty good show though.  We have added music and live percussionist Luis Orbegoso who is absolutely amazing.  His addition has greatly changed the energy of the show and it has become a living thing.

That's the magic of theatre.  The process is fascinating.

Next week will be the final week of rehearsals and then we move into the theatre.  It will be even more fascinating to watch the show morph and get right up on it's feet.  And as I said, I am thrilled to be a part of it.

So, if you are in the Toronto Area during the ParapanAm games, come see the show!

Details are as follows;

AUGUST 11-14 2015 7:30 PM
AUGUST 12 2:30 PM MICHAEL YOUNG THEATRE
YOUNG CENTRE FOR THE PERFORMING ARTS 50 TANK HOUSE LANE, TORONTO, ON
$30 GENERAL ADMISSION
BUY TICKETS AT TANGLEDARTS.ORG/PUSH

OR CALL 416.866.8666
(if you wish to use the Live Audio Description Service you have to callthe above numer as there is no option for this type of ticket reservation on the website).



    

Not Just A Flash In The Pan

Hello World!

It's been quite some time since my last post, but I assure you, I haven't been idle.
I've worked on a number of projects since last I wrote, and had a whole lot of life happening in between.  Including the birth of my adorable grand daughter Paisley last September.  I've also co-wrote and produced a short film - complete with audio description and captioning - with fellow artist Mark Brose, entitled "29,200"  More on that in future posts.

If you want to check out some of my creative endeavours you can visit my Vimeo channel at: https://vimeo.com/user18826187


Or check out the oodles of photography I've been doing lately: https://www.flickr.com/photos/fitzpix/

In August I'll be starting a great new job and then who knows?

Right now I'm working on a couple of fantastic projects during the TO2015 Parapan Am Games.

Let me tell you about them.


It had been my intention to "get out of Dodge" during all this Pandemonium stuff that's going on in the city right now - maybe go home for a couple of weeks - which would have been really nice, since I had the time.  I'm not really one for all this big cooperate machine that runs these things. However, the Universe had other plans for me it seems.  So I'm here in Toronto embracing the some of the awesomeness that's happening around me - and strictly speaking, there really are some pretty cool things going on locally besides all the other hoopla..


Firstly we have Ring Of Fire (disclaimer - I had nothing to do with this website or any accessibility issues connected with it)

Ring of Fire is a 300-person strong street procession, staged at the Parapan American Games

on Sunday, 9 August 2015 University Avenue from Queens Park to City Hall, Toronto Canada

My role here is to lead an entourage as one of the Sentinels of the Mississaugas of the New Credit First Nation. I am Minaadendamowin (Respect) Sentinel.  Ring of Fire is organized around the Anishinaabe Seven Grandfather Teachings:Wisdom, Courage, Respect, Honesty, Humility, Truth, and Love

The Sentinel is the largest, most elaborately costumed character in the procession. Each teaching is dramatized by one of these large-scale totemic figures.Respect symbolizes the Buffalo; the costume a graphic abstraction of this animal’s horns and is a symbol of survival.

While I am but a simple player in this project (and that is really nice sometimes) I have to say, I'm really honoured to have this role.  I can't wait to see and wear my costume.  I just hope it isn't blisteringly hot that day.

Please check out my fellow sentinels on the website.  They are equally impressive.

Ring of Fire is a procession by Trinidadian artist Marlon Griffith

in collaboration with Picasso PRO, Equal Grounds, Mississaugas of the New Credit First Nation, Capoeira Angôla, and Spoken Word poets from Jane-Finch, Malvern, and Regent Park.

Ring of Fire is commissioned by the Art Gallery of York University (AGYU)

and produced in partnership with Art Starts, SKETCH, The Malvern S.P.O.T., Success Beyond Limits, COBA and School of Arts, Media, Performance & Design, York University.

Curated by Emelie Chhangur

My second project this summer is PUSH!  a theatrical production presented by Tangled Art + Disability

I had the pleasure of attending the first reading of PUSH yesterday - a show that is part of the TO215 Panamainia presentation running Aug 10 - 14. PUSH! traces the history of Paralympic competition from 1944 to the present day, weaving together six athletes’ individual journeys to paint an exceptionally diverse picture of what it is to be a world-class athlete.

I will be developing the Audio Description for this show.  And I must say, I'm pretty excited about that.  It is so rare in Toronto, let alone Canada to have the opportunity to have this service with a production, let alone be able to develop it in the normal course of rehearsals. (Usually they want you to throw it together a couple of days before the show if at all).  So I really hope people come out.  It does get tiresom doing this for empty seats. (This of course is due to people's low expectation and just not being used to having theatre made properly accessible to them.)

(From the Tangled website) "as part of the TORONTO 2015 Pan Am/Parapan Am Games arts and culture festival, PANAMANIA presented by CIBC, Tangled will present a brand new original production featuring Canadian artists from the disability community, including media creator Murray Siple and an original live score to be written and performed by Latin percussionist Luis Orbegoso. PUSH! weaves together six diverse stories of personal struggle and astonishing accomplishments performed by a team of world class Parasport athletes: Sarai Demers, Jenna Lambert, Victoria Nolan, Paul Rosen, Martha Sandoval Gustafson, and Jody Schloss. Developed and directed by New York City’s Ping Chong + Company,"

I felt somewhat nostalgic watching the athletes tell their stories, as I too had once been one of them.  A million years ago, I was very much into track and field.  I was a distance runner.  We would have gone to the Moscow Para Olympics in 1980 - but well, that never happened.  By 1984 life had happened and I never looked back.  Until yesterday.

When I first read the call for PUSH a little part of me wanted to share that story...but a bigger part of me wanted to just leave it behind.  It was such a disappointment.

Rowing, skiing, equestrian, swimming, sledge hockey, shot put and discus - all the cool sports :)

I am especially fascinated with Jody Schloss is a Grade 1 Para-Equestrian - as I am a horse person.  I would love to do competitive dressage but have always been discouraged from doing so by teachers and coaches because of the vision thing.  Even when I enquired about such a thing at CARD, a place that specialized in teaching disabled people to ride horses, I sort of got the brush off.  At the time, it was just too much to deal with, so I just paid for some basic formal English lessons and ride whenever I can - which isn't nearly enough.  How I envy your experience Jody :)


If you plan to attend any event this summer, I recommend this one (and not just because I'm working on it) The passionate energy with which the 6 athletes approach this presentation is infectious. Their stories are engaging and heartfelt - they really mean it.

This show will be audio described as well, which makes it even better. If you wish to use the AD service, don't forget to mention it when you book your tickets - lets show this city - and the theatre community - that investing in AD is worth it!

So, I will post here with my insights and progress on my contribution to the show.  It should prove very interesting.

Come on out and see the Ring Of Fire procession - and come see PUSH - these are not just a "Flash In The Pan" but history being mad, and it will be time well spent!