𝘈𝘱𝘱𝘳𝘰𝘹 𝘳𝘦𝘢𝘥 𝘵𝘪𝘮𝘦: 4 𝘮𝘪𝘯𝘴🕒
Putting yourself in other people’s shoes only encourages empathy.
And I hope that’s what others found when listening to In Touch, a radio show and podcast centred around disability on BBC Radio 4. Because that’s how I felt.
The clever show focuses on the first episode of three audio described programmes: Scarpetta, available on Amazon Prime Video; The Night Manager (Series 2), available on BBC iPlayer; and The Dinosaurs, available on Netflix.
We got a glimpse of the audio description from each. The host, Peter White and his two guests, Nia Greer and Glen Turner, (who both have sight loss) discussed their takes on the full AD programmes.
First, we started with Scarpetta. Obviously, it was just a 30-second snippet, so it was hard to get a feel for it truly. But I wouldn’t have said the audio description (AD) was really warm or engaging, more so factual and to the point without much detail.
Nia, who was on the show as a registered blind person and an AD user, said that she wanted more information and visual references from the audio describer. She noted that there was no information as to who the woman was or whose gravestone it was in a certain scene (which was important), information that she’d only become aware of later.
I can imagine how frustrating that can be if it’s a regular occurrence. From my first 30-second interaction with it, the more detail the better! It doesn’t always have to be longer for that detail either. More descriptive words that allow you to paint a picture in your mind would be the way to go for me, in my opinion.
Nia acknowledges that because programmes are so fast-moving, it makes it tough to fit in the extra information. From talking to my colleagues at VoiceBox, that is true and a challenge they face on jobs too.
I just think it goes to show the importance of considering AD at the storyboard phase so it can be properly accounted for, rather than being bolted on at the end!
The second programme involved The Night Manager. Host Peter said it’s a tough one for AD given that the whole point of the books is that he doesn’t think you’re intended to understand what’s going on.
That is something I hadn’t considered before. How do you communicate that via AD? Naturally, when you’re judging the effectiveness of the AD, you may be confused between the plot or the description as to why you may not get it.
I also agree with host Peter that warnings that something is going to happen, via the AD, is unfair and he says: “you should get the shock the same as everyone else.”
Glen was next — who is an accessibility tester — and his choice of AD programme was ‘The Dinosaurs’ on Netflix, narrated by Morgan Freeman.
He said: “The audio description was a bit lacking in some ways. One of the things that struck me that she wasn’t really describing was the dinosaurs themselves. She was saying what the names of the dinosaurs were which I’d never heard of.
“She did say that one looked like a crocodile with a long neck, which was a nice, simple description we could relate to. She described the action quite well, but yeah, the actual dinosaurs you tune in for, you’re just assuming they all look the same, whether they’re bigger or smaller than each other.”
I think Glen makes a solid point. I mean, it’s always going to be hard audio describing for different audiences with different understandings. However, the more detail, the better so that audiences can picture it.
As someone who is fully sighted, I could picture the rough base of it, but nothing too specific, which is what makes people feel part of the story.
As touched on by Nia as well, there are no guarantees you know the dinosaurs referenced.
Producer of the show and audio describer, Fern Lulham, said: “Hearing this programme come to life was a reminder that quality audio description is about so much more than explaining what’s on screen. It’s about handing over the keys to a story. Good description adds texture, timing and atmosphere. It draws you in and keeps you hooked.
“What I love most is that this was the opposite of a textbook tutorial. It was a meaningful masterclass in AD, as seen through the eyes of everyday, relatable people.
“People who could be your sister, your dad, your son, your best friend or even you. They love TV just as much, but their vision simply means they need to see it in a different way.
“As a blind producer, there was something deeply satisfying about taking an idea which began entirely in my imagination through sound, and hearing it broadcast into the world with all the wit, warmth and carefully crafted detail I’d set my heart on.
“It felt like proof to me that accessibility done well, far from diluting creativity, only sharpens it. Great accessibility is, in fact, great broadcasting!”
For me, the more of this kind of content is only going to lead to more understanding and empathy as to why not only AD, but good quality AD, is so valuable.
𝘑𝘢c𝘬 𝘸𝘳𝘪𝘵𝘦𝘴 about media accessibility and localisation for VoiceBox. He loves to find real-life examples to reference when talking about the industry and the services which help make media more accessible for people.