Posts Tagged ‘Audio Description’

Audio Description: More than Movies Television and Theater

Wednesday, August 28th, 2019

Most people familiar with Audio Description or Descriptive Video have probably experienced the art access through movies, television or live theater. Today we hear about other applications where the art form provides access.

Headshot of Kat Germain
Kat Germain, a Describer from Toronto Canada tells us about providing description during conferences, sporting events and more. Plus we hear how she is training future describers on more than narration and post production.

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TR:

What’s up family. Reid My Mind Radio family!

You know, we’re growing. That means, our message is spreading to more people. Slowly we’re changing what people think about blindness. With every episode we’re challenging the perceptions of what it means to be blind.

Unfortunately, some people think it means life is over. They no longer see the life as being filled with opportunity. I get it, remember I’ve been there and felt that. But today I can definitely tell you there’s lots of opportunity if you’re willing to see them as such.

If you’re listening that means you are. And I got you.

If you want to assist in getting this message out especially to those newly impacted by blindness, low vision disability; tell a friend, to tell a friend…

Audio: Reid My Mind Radio Intro Music

TR:
today, we’re continuing with our look at the opportunities available through Audio Description. Both from the consumer perspective as in additional applications and production.

To do this, we’re going North.

KG:

My name is Kat Germain and I am an Audio Describer based in Toronto Canada.

[TR in conversation with KG:]
So let’s start with the definition of Audio Description as described on your website KatGermain.com. You mentioned talking pictorially.

KG:

We’re trying to use dynamic language. language that is descriptive , multi textured and vibrant. Painting a picture with words and filling in information in ways that is not going to distract from that which we’re describing but is going to add to it and help the understanding of the listener.

TR:

A multi textured vibrant painting with words.

That’s a cool definition of Audio Description or AD. If you’re a regular here you’re probably already familiar with AD.

I’m pretty confident however that you’re less familiar with description in the settings Kat tends to apply her artistic skills.

Like conferences and workshops.

KG:

If there’s a presenter they’ve got a Power point presentation, video clips associated with that, they’ve got photographs, whatever it is and my job is to describe those things to the listener. There’s also often a lot of signage around, people places, the size of the room, where the washrooms are all of those things to help the listener be as A., independent as they choose to be and then B., to give them information.

TR:

I know what you’re thinking. Wow, Canada. First health care and now this. Well it’s not yet as common as you may think.

KG:

I have sort of two or three people who are from the Blind partially sighted and low vision community and when they go to conferences they specifically ask for the accommodation of Audio Description and so I’m called for that. I have a close relationship with those people and so I know the kinds of things that they want and I also adjust it to what their needs are.

[ and so for example a lot of them are going to conferences where there’s a large number of people who are disability identified or parts of the conference are specifically geared towards or celebrating people with lived experience of disability or people who are working with those communities. And so they often want to know what people look like. If the person who is speaking about a lived experience actually potentially has a lived experience. And those kinds of questions are potentially a little bit politically incorrect. I wouldn’t announce that over a system with a large number of listeners but if it’s one person I’m always very happy to answer a question. And likewise even if it’s a lot of people after the show or the event or whatever it is if they want to ask me a question about perceived cultural background of a character or a person I’m happy to do that as well.
]

[TR in conversation with KG:]

So can you describe how it actually works because if you’re there for one person I’m sort of imagining that you’re sitting right next to the person but my understanding is that’s not the way you do it.

KG:

That’s not the way I do it but it is a possibility. Generally speaking I am a little further back and away from the crowd and mostly that has to do with so other people are not distracted by me speaking because while I’m trying not to speak on top of the words of the person whose presenting as best as I can because it’s going to be improvised, it still can be a little distracting for people that are around. So I separate myself from the group and I speak through a little microphone and then the person has a receiver that’s about the size of a fold up wallet and they listen through a single ear piece.

[TR in conversation with KG:]
So then in that case it’s a one way communication?

KG:

Correct.

[TR in conversation with KG:]

Ok. So those questions they would ask you later on. They wouldn’t necessarily get the opportunity to ask you right there unless they’re texting you.

KG:

Which as happened as well. Yes.

[TR in conversation with KG:]

Ah, ok!

TR:

While these accommodations are often for individuals, Kat requests that the service is advertised so others can also benefit. Just in case, she’s prepared with multiple receivers.

So is this available here in the states?

KG:

I’m not familiar with anybody who does conferences in the states but I am familiar with lots of Describers down there.

[TR in conversation with KG:]
Ok, so for our purposes if you do want it you have to call Kat Germain. How about that! Laughs…

KG:

Laughs… Yes that is exactly the rule.

TR:

I mean it makes sense! Not only does she have the experience, but there’s a knowledge of best practices for the describer. And, she also has great suggestions for presenters.

KG:

Accessibility doesn’t have to always be on the describer. We can be a little bit more interdependent and a little bit more inclusive. For example the presenters can talk a little bit about their video themselves. They can introduce themselves and what they’re wearing that day.

TR:

And what about group or panel discussions where multiple people are contributing.

Whether you are participating in the discussion or in the audience, from a blindness perspective, it can get tricky.

KG:

Often people who rely on visual cues can tell that somebody has sat back in their chair, they put their hands down and are looking around , there’s a visual cue that they’ve stopped speaking. But if you’re not accessing things visually, if you’re not accessing them in the same way visually then you don’t have that cue and so the person if they say that’s the end of my thought then the person knows ok maybe I can put up my hand now , I can say something, I can interject without interrupting them etc.

TR:

What are some of the other applications for Audio Description that you may have not experienced or considered.

KG:

I love my theater, I love my conferences, I love my Descriptive Video, but sports.

Audio: Play by Play from the NBA 2019 Championship … Toronto Raptors Win!

TR:

Yes, there’s the play by play, but have you ever wondered what you’re missing especially when attending a live game? Like when Kat described a game of Wheelchair Basketball.

KG:

I worked with a colleague and he has the sports commentary background and I have the Audio Description background. And we worked in tandem. The way that we presented what we were doing is a little bit more of a hybrid. We did do the straight up description, but then also we did a little bit more commentating as well; what does team Canada need to do to catch up? How is so and so playing in this game? We made that decision to do it that way and the people who listened enjoyed it.

TR:

I think what makes this exciting is how the description goes beyond the action on the court.

KG:

In more detail than you would hear for example on a radio broadcast. Additionally though, I was describing what was happening in the stadium. I was talking about the antics of the mascot and where the t-shirt cannon was pointing. What the half time dancers were doing and what the logos look like that were all around the stadium. What was happening on the Video-Tron because they had a bunch of gag things. A kiss camera where they put a heart around you and filmed you when you were about to kiss. A bongo camera where they super impost bongos in front of a person who was on screen and they had to move their hands up and down as if they were playing the bongos.

TR:

Now, I’m not the biggest sports fan, but I do enjoy the energy of a live game. So I was immediately interested when Kat mentioned that they’re looking into describing a baseball game.

KG:

I’m really hopeful we’re going to sometime in the near future get a baseball game. We’d ask the arena to offer us a box and then invite folks in the community to come and we’d do the description in the box with them there. I promise to invite you.

[TR in conversation with KG:]
Oh yeh, please do!

TR:

Just when you thought you knew what to expect from Audio Description. Someone pushes the boundary a bit further because they believe in access.

KG:

I’m doing a sketch show right now because I have a comedy background. I did the Second City Conservatory. I love comedy and want very, very much to support it and for the audience to get the jokes and hopefully get the jokes as close as possible to the same time as the rest of the audience.

TR:

AD in this particular application gives Kat a bit more room to use techniques that she would otherwise forgo.

KG:

I do feel to support the work and to support the people listening presumably who are there at the show because they want to laugh with everybody else that I felt like it was a little bit of nudge was needed for a couple of spaces. Not throughout the whole thing. For example there’s a witch scene. A witch does a spell and the lights and flicker. And there’s another one… flash and flicker and the third one, she does her spell and, …. nothing. So I can do a little bit of that inflection. A little bit of pause so it’s that comedic timing within the Audio Description itself without being comedic myself.

TR:

A sense of humor is important in live events, you never know what you may have to describe.

KG:

One of the men gets completely naked we had a long description of what the average size of a man’s…

Audio: Ahem, Ahem, Got Damn! “Let Me Clear My Throat”, DJ Cool

TR:

With such vast experience, Kat’s recently started her latest role in Audio Description; training future describers.

KG:

I’ve trained ten people to be Descriptive Video Specialists. It was a three day workshop and there is another one planned for the very near future

TR:

Kat couldn’t devote time to teaching voice work, so she sought students with a background in either acting or voice over. Additionally she wanted those interested in writing description.

KG:

Post production as well. Editing the voice recording, getting it all up to spec, mixing it etc. Sending it off to the broadcasters.

TR:

Creating AD is more than technical.

KG:

Identity is a huge topic here, particularly in Toronto. It’s my understanding that we have the most diverse city in the entire world. We have the most number of languages spoken here, the most number of countries represented here. It’s a thing!

TR:

It’s a thing that finally we’re talking more about.

Respecting cultural differences through inclusion and representation. From all perspectives including the consumer, and creators.

KG:

It’s a pretty challenging balance. What would fly in Toronto is not necessarily going to fly in a teeny tiny town on the northern east coast. [of Canada]

TR:

Similar to the U.S. Canada is trying to figure this out. Currently there aren’t any rules just some generic guidelines recommended by Accessible Media Inc.

KG:

Describing a person’s race or ethnicity or disability is not necessary unless its perceived to be relevant to a plot or character development.

To me the question is who’s doing the perceiving.

The majority of describers in Canada are generally speaking white people, probably sis gender. There is not a huge ton of diversity with the describers and I don’t think that matters in and of itself but I think it would be fantastic if we had a little bit more diversity. And certainly with my Descriptive Video students I actively went and sought out actors of color that I knew and thought might be interested.

TR:

While she follows the guidelines, she does have a particular point of view when it comes to diversity.

KG:

I feel that it’s always relevant who is and who is not represented on a stage or a screen. I work in inner city schools with a huge group of diverse kids and I want those kids to see themselves reflected on stages or screens. Or again, know that currently they are not. I want my students to have heroes and people to look up to and if they don’t know there’s a Blind person on a stage or a person who’s Japanese on stage then to me I feel it’s not doing them or the play a service.

TR:

During a recent live theater performance, one of the actors was Blind. In no way was this relevant to the role.

KG:

I had the chance to speak with the actor himself and he said yes he would like them to know that he’s on the stage and he’s Blind.

[TR in conversation with KG:]

how did you get into Audio Description from the jump? What made you interested in it?

KG:

Representation and equity and access has basically been a part of my life’s work. It started when I was two years old and I went with my Nana to the Canadian National Institute for the Blind. They had a residence there. We would go shopping, grocery shopping for the residence. That was the environment I grew up in with a grandmother who’s very interested in volunteerism and working to support communities who are traditionally marginalized. Growing up in downtown Toronto we got all kinds of beautiful skin colors and hair textures and heights and shapes and everything. My friends and my family were not being represented on stages or screens in this extremely diverse city.

Which put a bee in my bonnet.

TR:

My apologies for that rough language!
[
Too often when we hear the term diversity, it doesn’t always include all marginalized groups.

KG:

Cultural heritage, physical, neuro, gender fluidity, so diversity in its full spectrum.

TR:
]
Eventually Kat began working with Picasso Pro. An organization providing training and workshops to artists with disabilities who were not being represented on stage.

KG:

They were the ones who applied for funding and got a grant to bring a woman up from California, Deb Lewis. She was the one person who essentially seeded Canada with Audio Description. She taught the group on the west coast in Vancouver, 8 of us in Toronto, and then there’s also Stratford Ontario and they have the Stratford Festival. Since then Steph, who is the woman on the west coast trained some other people around the country but it’s still only like four or five groups of us in Canada.

TR:

I asked Kat to identify some opportunities for Blind and Low Vision people to participate in the creation of Audio Description. She’s actually seeking funding to develop such a practice.

KG:

The easiest one would be straight up the narration part of Audio Description. I also feel that there is room for people if they are interested in doing the post production for Audio Description as well. They would edit the sound files and mix it and make sure it’s up to broadcast specs. Leading teams who are providing the service in sort of management positions as well.

TR:

Of course, there’s quality control consultants. Not only do they provide feedback on the actual description

KG:

Every time I’m hired to do a workshop I always bring a community consultant with me. I don’t feel like it’s appropriate for me to be teaching any skills about community when there’s no body from the community there. They’re going to know better what their needs are.

TR:

Not everyone involved with AD is familiar with people who are Blind and Low Vision. There’s a lot of power in personal interaction.

KG:

I also think probably it makes everything more immediate and more meaningful for the learners as well.

Kind of the concept of nothing about us without us.

TR:

That’s the perfect way to wrap up these last two episodes around Audio description

I challenge those in the business of AD and in fact, I’ll take this even further, any business that serves the disability community, if the community isn’t participating in that business in a non-consumer role, it’s time you ask yourself why. And it’s crucial you question any response that ultimately keeps a member of the community from doing so.

A big shout out to Kat Germain

[TR in conversation with KG:]

Now where can folks learn more about Kat Germain and what you do, your trainings and possibly contact you to get you to describe a conference?

KG:

Hint, hint! Or sports!

My website is www. KatGermain.com. That’s (spelled out) Kat Germain.com. There’s no E on the end of Germain.

TR:

She can be reached by email as well

KG:

At Kat @KatGermain.com

You can also contact me in Toronto as well. My area code is 647-292-3359.

TR:

Instagram and Twitter?

KG:

Kat_Germain

TR:

You can find links to Kat, transcripts to each episode and more on ReidMyMind.com

There’s only one way to make sure you don’t miss an episode…

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Audio: Reid My Mind Radio Outro

Peace!

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Opportunities in the Creation of Audio Description

Wednesday, August 21st, 2019

As we continue looking at Audio description, we take a look at the opportunities for those within the Blind and Low Vision community to participate in its creation and not just as consumers.

Headshot of Colleen Connor and Guide Dog Joplin
Colleen Connor, co-founder of Audio Training Retreats & an Audio Description Quality Control Consultant is doing exactly that. We explore the challenges and some potential solutions, current ways to get involved and things being done to support future involvement from more Blind people.

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TR:

What’s up Reid My Mind Radio Family.

I had to take a little break from the podcast. I’ll explain more about that in a future episode as its directly related both to this podcast and adjustment to blindness.

This episode is actually being posted on an off week. So that means expect to get another next week. In fact the two sort of support one another.

We’ll be moving forward with episodes every two weeks after that taking us through the end of the year, with a break beginning some time in December.
For now, let’s get it!

Audio: Reid My Mind Radio IntroMusic

TR:

One question that I suppose is asked by just about anyone adjusting to becoming Blind as an adult, especially working age, is what sort of work can a Blind person do?

If this is your first time listening to this podcast, I’d encourage you to take a listen to the archives. We indirectly answer that question in many episodes where we profile different individuals most often impacted by some degree of blindness or low vision.

Today we’re going to continue with our look at Audio Description or what some around the globe call descriptive video. Specifically, the opportunities available for Blind and low vision people in the creation process.

To do this, I reached out to Colleen Connor. Colleen is a podcaster, web accessibility tester, Audio Description Consultant and Co-founder of Audio Description Training Retreats.

Diagnosed with Cone Rod Dystrophy as a child, Colleen lost most of her usable vision by her Junior year in high school.

CC:

I’m grateful to my parents because they didn’t treat me any differently. I’m a black belt in Tai Kwon Do, participated in school fully and never was held back from doing anything. And so you know I decided to super, super logically major in musical theater (Laughs…).

[TR in conversation with CC:]
Laughs…

CC:

because that’s so practical.
[TR in conversation with CC:]
What did your parents say about that, about that choice?

CC:

I think they just wanted me to be able to do what I wanted and what I was good at. They weren’t thrilled but they didn’t actively stop me. They knew how passionate I was about theater and acting and studying dialects and singing.

TR:

Colleen’s introduction to audio description isn’t what you might have suspected.

CC:
I ended up working in the Spy Museum in Washington DC. They had a described tour there but it was very out of date.

TR:

Guess what Colleen offered

CC:

Hey I’m visually impaired, can I update this for you. And I was too Naive to ask for money. Much like a lot of my work I did it for free.

I was in theater and musical theater almost my entire life and I had no idea that Audio Description existed. No one had ever told me about it. I didn’t know it was something I could ask for. Once I discovered the audio tours in museums someone mentioned to me about Audio Description of plays and musicals and live theater and I was blown away. And then of course I discovered that they were also doing Audio Description for film and television.

TR:

That project at the Spy Museum?

CC:

I rewrote this tour. I added some tactile elements. People were really impressed by it. I got hired by Cortina Productions after that to work on the audio tour of the George W. Bush Heritage Library and Museum in Texas.

TR:

Doing the work and having it well received is great, but AD meant more to Colleen.

CC:

This could be kind of my way back into theater. I started looking into it realizing that there isn’t a lot of training.

TR:

Maybe you’re familiar with the saying, get in where you fit in. That’s what Colleen did.

CC:

As those of us who can’t see we are the users of Audio Description. Therefore it’s my belief that we are your best source of quality control. We are your best source of feedback. One of the things that I started doing was critiquing people. So I would contact people whether it was from a live show or a TV show or film and I would say here are some notes about your description. I thought you did this well, I think this could be an improvement, I don’t think you should have used this voice artist. I started from a place of editing and critiquing.

[TR in conversation with CC:]

How was that received?

CC:

Sometimes it just straight up wasn’t. (Laughs…)
So my messages are somewhere in the ether, I’m sure. Other times people were amazed and then especially as far as live they were very hungry for feedback and critique because they do these shows and half the time nobody’s even listening to their description and so to get legitimate feedback. Some people have an ego about it they think they’re infallible but most of the time people are like thank you so much , what else.

So I realized in a sense it would be ideal if you have people teaching audio description or if someone was an audio describer to have a consultant who is visually impaired or blind who is a user of the experience.

TR:

While in the role of Quality Control Consultant during a conference, Colleen came across another opportunity.

CC:

I met my business partner Jan Vulgaropulos and she is a professional Audio Describer.

TR:

Jan, who specialized in live theater description had a question for Colleen.

CC:

Listen, I’m thinking of starting my own training. Would you do it with me and start a company?

I said yes, let’s do it lets create something new! We both decided that rather than a classroom kind of conference where you’re there for two days 8 to 5 with fluorescent lighting in a hotel trying to get the basics of Audio Description that we would create Audio Description Training Retreats, which is our company, and we would have people in sort of a natural environment . We would do courses in Audio Description . That has become part of my passion and my focus.

TR:

Back to the earlier question; what sort of work can Blind people do? In this case as it pertains to Audio Description.

CC:

I’m not only there to give the student’s feedback, I co-teach Audio Description. I help teach them about Disability awareness and the history of Audio Description, where it comes from. The update as to what’s going on now. We go over kind of our guidelines for helping people establish Audio Description.

And then my colleague does the actual description teaching. The main goal is to give people as much feedback and performance opportunity as possible. So we have our students do a lot of description.

TR:

The hands on approach enables these future describers to figure out what aspect of Audio Description they like.

CC:

Hey you know I like writing, but I don’t want to do the voice artist thing or I don’t think I could do live theater and just say what I’m seeing in real time that’s too hard. Or they might enjoy that challenge.

TR:

I don’t want to be one to say that something can’t be done based on the current process. It may appear that way until someone comes along and changes how it’s done.

Yes, right now, live description and writing the description for a film or television show requires sight. But wordsmithing doesn’t.

What are the other challenges for a Blind person to participate in this work?

How about narration?

CC:

When you are recording in a studio, what normally happens is the script is on one screen and then on the screen next to it the film or TV show is playing and it has the time stamps on it and the Sound Engineer will say ok you have three seconds to record this line will do it three times ready? And they will play the clip and you’re watching the clip and trying to say what’s on the script at the same time.

TR:

Ok, maybe it’s me but this doesn’t seem to be a real obstacle. It’s a process that’s currently in place but there’s no reason it couldn’t be done differently.
For example, a Sound Engineer could cue the Narrator.

A Narrator/Editor with time stamp info alone could easily run through and record and be sure that the narration falls as indicated.

CC:

I think if you were doing it independently you could be successful at it. I think some of the larger studios everything has to happen so fast in post-production that they’re like you have one day to do this. You have one day to record the Audio Description and they just don’t think Blind people can do it.

[TR in conversation with CC:]
Huh!

TR:

That sounds like the biggest obstacle to me, attitude.

CC:

As far as quality control, as far as the people who should be editing, I think that should be Blind people. We’re more attuned to consuming Audio Description as our means of delving into a story and we have more of a legitimate leg up to say something like this voice over artist is super annoying and takes you of the story. The script writer repeated this line twice. At one point in the scene you named this person this and now you’re calling him this. Those kind of things are what we would be more efficient at editing.

TR:

For example, tell me if you think there’s something off with this narration.

[Audio: Shooters Season 2]

This is from season 2 of a Netflix series called “Shooters”. No offense to the Narrator but why in the world is he practically singing every line. I had to abandon the series. I just couldn’t do it. This guy!

CC:

There is room for more employment for visually impaired and Blind people. It’s just a matter of the same that it every was which is unfortunately we have to break down the barriers. We have to be the ones to say , no like we can edit, we can be involved in this, we can be voice artist, like it can happen.

TR:

Colleen is currently a member of an ACB Committee tasked to create an AD Accreditation. They’re developing guidelines that define audio description and requirements for live theater, plays, movies and television.

CC:

It’s not just for the describers, we’re also going to be creating a certification for quality control or consumers of Audio Description. My goal is to make sure that Blind and visually impaired people have a chance to also be certified as quality control and as description consultants.

TR:

When it comes to standards and guidelines for creating Audio Description, there’s a lot of room for growth. How to handle diversity is just one question.

CC:

How much do you say about a person? How do you very quickly categorize somebody if you need a really short term for this one burly guy?What do you say? What’s appropriate to say? What terms are you going to use that may in five in a year, may be no longer appropriate?

A lot of times you may want to reference something, but the main default as far as guidelines will most likely be only if it’s relevant to the story do you need to reference something and then you need to keep in mind you have to reference for everybody because that’s why it would be significant.

TR:

To learn more about Audio Description Training Retreats you can reach them on Facebook or Twitter @ADRetreats or visit ADTrainingRetreats.com.

They have some trainings taking place this fall so go on over to the site and get all the information.

[TR in conversation with CC:]

And your podcast? The name and where can folks take a listen?

CC:

My personal kind of podcast and any of my videos and information can be found at BlindInspirationCast.com

TR:

I’ll have all of these links at ReidMyMind.com on the episodes post.

Shout out to Colleen Connor for taking the time to speak with me for this episode.

I think we may hear from her again in the future regarding AD and more. She and I have some things in common. For example, like when I asked her to try using headphones during our interview and I noticed she too like me enjoys making up songs about nothing.

CC:

Humming a tune…

“Getting my headset!”

[TR in conversation with CC:]

Laughs!

# Closing

TR:

Hey, I’m not sure if you all know this but right now, there’s an incredible sale taking place just about wherever podcasts are distributed.

It costs nothing, absolutely nada, free 99 to subscribe to a podcast including this one. So do yourself a favor and…

Subscribe!
Apple Podcast, Spotify, Google Podcast, Stitcher, Tune In Radio or wherever you get podcasts.

You can always send me feedback or recommend a guest or topic all you have to do is hollaback!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

You can always visit www.ReidMyMind.com, that’s R to the E I D like my last name!

Audio: Reid My Mind Radio Outro

Peace!

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The Art of Access with Cheryl Green

Wednesday, March 27th, 2019

The camera catches Cheryl & Cynthia from a jaunty angle. Cynthia holds a beautiful plaque for Superfest Disability Justice Award for New Day Films’ Who Am I To Stop It. The plaque has text, Braille, and raised lettering. Cynthia smiles at Cheryl as she burst into excited laughter at the passer-by who shouted “Superfest, whoo!” she holds a bouquet of sunflowers by her face.

Meet Cheryl Green, a filmmaker focusing on disability identity and culture and making media accessible.

She began making films after acquiring disabilities from brain injury. Her media combine personal narrative and activism to create
dynamic tools that critically challenge misconceptions and stereotypes of disability, celebrate pride in disability experiences, and amplify marginalized
voices. Cheryl works to create a platform for people to use the arts to increase connectedness and to promote dialogue and change within the larger community.

Hear why Cheryl views Captions and Audio Description as an artistic part of the film/media and a means of achieving disability justice and equity.

Her latest film Who Am I To Stop it is a documentary on isolation, art, and transformation after brain injury.

She’s a fellow Association of Independence in Radio New Voice Scholar… hit play below and hear how that worked out for yours truly!

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TR:

Audio: “Fellow Americans, it’s with the utmost pride and sincerity that I present this recording …” PSA, Jay Z (Just Blaze)
— Beat rides underneath…

TR:

Welcome back to another episode of Reid My Mind Radio.

Audio: “Allow me to reintroduce myself, my name is…” PSA, Jay Z

TR:

T.R E I D, Moving podcasts by the GB!

. I’m your host and producer of this podcast.
Bringing you stories and profiles of compelling people impacted by all degrees of vision loss and disability. Plus, I occasionally explore my own experience around becoming blind as an adult. I try to present that in my own way blending my words with audio and sound design.

Before we get into it, you know movin’

Audio: “Moving’ doin’ it you know” Sex machine, James Brown

I want to send a shout out to those of you who subscribe to the podcast. I truly appreciate you. That simple act of hitting that subscribe button especially if you subscribe via Apple Podcast, increases the chances for others to discover the show.

Audio: Music stops…

I don’t know why, that’s just what they do!..

Music re-starts…

One of my main goals of producing this show is to hopefully reach those who are new to the experience of blindness, low vision, vision loss I think the people across the Atlantic refer to it as sight loss. Maybe you are recently experiencing some form of disability. I think there’s something for you here.

It’s a shift in attitude that is not based on changing just to change but it’s based on experience. Experience from people who have been where you are right now and worked their way through it. People who accepted what they were given, people who didn’t feel the need to overcome but rather embrace and continue.

Hmmm!

If you are new to disability let me send you a very warm welcome. A virtual hug going out to you. I’m referring to anyone impacted by disability. Whether you are Blind or Low Vision or maybe you are the spouse, parent or child or even the friend of… we got something for you right chere. And yes, I said right chere!

So with all of that said, I hope you are ready because I want to introduce you to a new friend of mine who brings a different perspective to how we view accessible media content.

I just hyped myself up and I hope you can feel it too!

Let’s go!

Audio: Reid My Mind Radio Intro

# Cheryl Intro

My name is Cheryl Green. I am an independent documentary producer and audio producer.

TR:

She’s also a strong advocate and maker of accessible media content including subtitles, captions and audio description.

As an independent film maker, we see that’s just one of the unique perspectives she brings to her work.

# On Disability

[TR in conversation with CG:]
What is your relationship with disability?

CG:

I like that question. It’s so much nice and more nuanced then what’s your disability and what’s your diagnosis because disability experience is so much more than medical diagnosis.

One of my relationships to disability is political. I’m always looking at cultural and political things from a disability rights and disability justice platform. Another relationship is that almost all of my friends and significant people in my life are disabled people. And then because I like things in three’s; my relationship to disability is that I have multiple invisible disabilities, but I’m not sure that invisible makes sense as a term. Non-apparent or easy to hide. Some of them are acquired and some are stuff that I was born with that has shown up later in life from kind of living as a knucklehead and now it’s coming up. Laughs.

[TR in conversation with CG:]
Laughs…

Oh boy there’s a lot of stories right there. In that one statement, living as a knucklehead. Oh boy!

CG:

Laughing…

But it’s funny because that’s the one that I was born with. It’s a connective tissue disorder and for me it’s very mild , but I have dislocations and I have chronic pain chronic tendonitis, ligaments that are over stretched. I was born with it. The knucklehead part is that I over did it as an athlete through most of my life. So just chronic injuries and stuff but it’s nothing as fun and exciting as you know…what did she do?

[TR in conversation with CG:]
Laughs…

# Captioning

## TR:

Cheryl also experienced a Traumatic Brain Injury that she says is indirectly related to the complications of the connective tissue disorder.

Our conversation however, focused on accessible media content. Beginning first with captioning.

Now I know most of you listening are way smarter than me but I needed a clarification between sub titles and captions.

CG:

Subtitles are just a typed out version of what people are saying. It’s just words on the screen as the words are being spoken. Captions also provide descriptions of the sounds music, whether there’s traffic going by, dogs barking. When possible you can add in a description like whispering or tense voice . There’s all sorts of descriptors you can add in there.
They should identify who’s speaking and when the speaker switches.

The thing about subtitles is that they actually assume that it’s only hearing audiences watching a film that has subtitles because there’s no indication when the speakers change. And if you’re looking at a sunrise and two people are off screen talking and you just see sentence after sentence after sentence there’s actually no way to know who’s talking and when the speaker’s switching. And to me I don’t see how you can follow what’s happening if you don’t know when the different people are talking.

TR:

Maybe you can’t tell yet, but this subject has a special place in her heart. It’s not just about words on the screen.

CG:

I love captioning more than anything else that I do. One thing that I love about captioning is that it is so precise, detailed, tedious and repetitive. That just works for me.

I look at captioning as part of the art. I do not think of it as a piece of accessibility that you have to add or want to add at the end. To me it’s artistic. Translating things. I can’t literally caption every single sound that is in a piece of art. That doesn’t make sense it’s not even possible. So I have to make creative decisions based on what I think it most important from the creator’s perspective and what I think audiences will want to get from something. I don’t want to be like “Speaks slowly, whispers quietly, birds chirp” I want it to be rich and lush especially when the film or the show is rich and lush. I feel like it’s my duty to make the captions as interesting and beautiful and artistic as the film is.

For me captioning is something that I can do in a move towards justice and equity. It is access to information. Whether that’s the news or pure entertainment or something that’s informational or somethings that’s on a social issue. it’s about equity. It’s not just about meeting compliance. I love doing it and I love what it can bring to people and how it can include more people in media and in conversations.

# Audio Description

TR:
Captioning eventually led Cheryl to find an additional way to make media more inclusive and engaging.

CG:

Through one more piece of access that’s very artistic , very subjective and hopefully integrate it into the art itself.

TR:

Maybe that’s not the way you’re used to thinking about or even hearing Audio Description discussed. . but that’s what she’s talking about.

Cheryl recalls first thinking about AD after providing captions for a client and then reading their Facebook post which read;
CG:
“Hey my video has captions now it’s accessible to everyone!”

## TR:

This just wasn’t true!

CG:

You have to be able to read quite well and quite quickly to follow captions. No, captions are not accessible to all people because not everybody can read in whatever given language there in but also I looked at that and thought well these captions are just visible on screen and if you’re not
looking at the captions there not there.

TR:

There’s all sorts of benefits gained from captioning and Audio description. And not just for the consumer.

CG:

I think it takes a lot to acknowledge you know what, I made a great film here but I recognize that not everybody can access it because of the way I made it.

There’s a big piece of acknowledging this film is not complete until more people can come in.

From a capitalistic sense if you have great content and you want an audience why not make your content available to a bigger audience. It just makes sense.

But I hate capitalism so I do also value more of a disability justice and social justice and equity lens to say people need to be participating in civic engagement, arts, culture, entertainment and all of it. And What can I do to make that more accessible and available to more people.

# Film

TR:

She’s answering that question from multiple points of view. That’s a Caption & Audio Description provider and as a film maker.

Following the brain injury which impacted her ability to cook as well as organize she did what anyone would do;

CG:

I made a comedy film about it and it took off.

Audio: “Cooking with Brain Injury”

TR:
Okay, maybe that’s not what everyone does.

That first film was called “Cooking with Brain Injury”

A short film looking at daily struggles of life after traumatic brain injury with dark, honest humor.

CG:

I sold many copies of it. I’ve taken it to state and national speech therapy conferences. I’ve done Continuing Ed. trainings around it and it was totally impairment based. It was a window into my world.

TR:

After other films around brain injury, she decided it was time to close that window.

Audio: window closing

CG:

I realized I need to get out of the spotlight and get behind the camera and do more. Over the years my films have become much less about impairment and much more about disability experience, marginalization, self-empowerment, autonomy and decision making. I do a lot of cross disability work now. It was all brain injuries in the beginning but that didn’t hold my attention because it can be so impairment focused.

TR:

Cheryl’s first film didn’t start out with Captions or Audio Description.

CG:

I didn’t know about access at all when I started, but as soon as I found out I could copy down the spoken words and put them up on the screen; it didn’t look good , but those words were on the screen. And I loved it!
Then I got educated about Captioning software

TR:
She became quite serious about the craft.

CG:

I read up on the FCC guidelines. I love it when the FCC issues new guidelines new recommendations. I’m there with those white papers reading them to make things the best that I can.

I have seen some people criticize the FCC guidelines for example saying, “I don’t care what the guidelines are I want to know what Deaf people want.”

Number one, Captions are not just for Deaf people. There’s a lot of different kind of people who want and need Captions.

Number two, there were Caption users on the committee that wrote the FCC guidelines.

They’re really good guidelines . They make for beautiful Captions They included actual consumers actual Caption users in their creation and that’s another reason I really value them.

[TR in conversation with CG:]

You really are a Caption nerd! Laughs…

CG:

Laughs… I’m such a nerd!

TR:

Deep passion for a given subject. That’s what separates the nerds from the rest.

In this case, the passion is all about inclusion, social justice and equity.

CG:

I have a lot of clients a lot of filmmakers who come to me for captioning and they have a lot of complaints about the way captions look. Or they make requests that I find unreasonable. They’re unreasonable because they are centering that hearing filmmaker who doesn’t actually know what Captions are or can’t really articulate what Captions are for. And I say, your aesthetics around Captions are not what I’m working with. I am working to serve Caption users and I have very explicit reasons why I make the choices that I make. I’ll negotiate with you. I’ll talk with you on the phone but you have to understand that Caption users come firsthand I’m not interested in your aesthetic choices around the Captions.

If you want access you would make captions the most accessible that I know how to make. I get into fights with people all of the time and it’s so much fun!

[TR in conversation with CG:]
Laughs!

TR:

Don’t worry, know one’s out here recklessly out starting fights. This is all about advocating for the user.

CG:

IF content creators always included Caption users and Audio Description users in their minds and their target audience then it wouldn’t be a thing. But it’s specifically because people whether it’s willfully or they just have somehow remained oblivious through their careers, they don’t even consider people who would benefit from the access as part of their target audience. That’s why I harp on it . I would love to get to a place where it’s just we have to do color correction, we have to do sound sweetening, we have to trim off 35 seconds on this, we have to add the Audio Description. Boom, boom,boom boomboom!

When it’s just part of the practice, yeh, I won’t have to be so political and I won’t enjoy fighting with people. But until we’re at that day for whatever reason I enjoy being super fired up and political about it.

[TR in conversation with CG:]

The order in which you laid that out where you said ok, they have to do some color correction, do this and let’s add Audio Description. I want that thought about in the writing because to me the end result would be better. I still think that when it comes to things like Audio Description and Captions, there’s a charity model that starts off the process.. Let’s do this because you know (the following said mockingly) it’s a good thing to do for the people. Let’s give this to them so they can be happy.

If they thought about it has what you said which is it’s going to make our film better Not just because more people are seeing it but it actually may do something better to the film Meaning, if you think about Audio Description at the time of writing it at the time of producing that film chances are you’re going to think of something that’s going to enhance it.

CG:

Oh, hundred percent! Oh my gosh, I just got interviewed yesterday they were like what’s the one take home message that you 3want filmmakers to have.

I say, you put access in your budget in the pre-production phase. You put it in your budget so there’s no “oh we didn’t know”. And then you always consider it. You don’t just get the supplementary footage or the daily footage.

There’s kind of this idea that you find something beautiful you hold the camera on it for at least 10 seconds, get a good shot. You know what? Do it for 40 seconds because then when we’re editing there’s the opportunity to say let’s stretch out this shot a little more because then we can put the Audio Description in.

I am totally with you that if you are considering this stuff from the beginning you’re going to film it differently. You’re going to edit it differently. It is going to be better.

TR:

This is coming from an experienced film maker.

CG:

When I filmed my documentary and I was still new to this, I told my Director of Photography, “Don’t ever do extreme close ups. Ever” I don’t want any extreme close ups. Even with the mouth off to the side because we are going to have captions in every version of this film ever shown. I told the Editor, “I need you to put in spots, stretched out spots where Audio Description can come in.”

Now unfortunately I wasn’t trained in Audio Description back then, and so we didn’t nail that as well. We didn’t have enough stretched out spaces and the Audio Description isn’t as lush as it could be.

We did some re-editing and we added in more space. I re-wrote the script, the original Audio Description script, hired other voices to do it. As you watch my film progress over time the same film different versions Audio Description becomes more lush, more engaging more honest because now I understand Audio Description a little better. So there were things that were a little vague in the description.

TR:

For many such re-writes would feel like a chore.

Like her latest production, “Who AM I to Stop it”, a documentary film on isolation, art, and transformation after brain injury, was selected for Superfest International Disability Film Festival.

The longest running disability film festival in the world – co-hosted by San Francisco’s Lighthouse and the
Longmore Institute on Disability at San Francisco State.

Superfest is one of the few festivals worldwide that is accessible to disabled filmgoers of all kinds.  
CG:

I got an email from the director, hey we love your film it got in, it got an award, but we had to stop during the screening a few times because our Blind jurors felt left out by a joke in the film. It wasn’t described well enough. She said I’m sorry I don’t mean to be negative but are you at all available to re-record.

TR:

I suppose it’s viewing this process as art that produces Cheryl’s response.

CG:

Negative, this is the biggest gift in the world are you kidding me let’s go.

I rewrote several parts but I specifically rewrote the part that people felt left out by. My Blind Audio description teacher helped point out some spots where she still felt a little bit excluded or maybe even confused about what was happening. It’s just more descriptive. That’s how art should be. As you learn and develop your skills it gets more wonderful.

Audio: Basic Able

TR:

Wonderful, like the time she described an improvised dance segment for a video podcast. It featured Antoine Hunter

CG:

He is a really phenomenal person. He’s a dancer, choreographer and healing artist. He teaches dance. He’s marvelous. He’s Deaf and he’s the Artistic Director I think, of the Real Urban Jazz dance Company.

I’ve never done dance before. It was so fun and it was so exciting to try and get the dance moves and match them. And because he’s Deaf he incorporates some sign into the way he dances.

I’m not fluent at all, but I’m familiar with Sign language and I’m familiar with the role that facial expression plays in the grammar and expression of Sign language. So I was able to make references to his hand gestures as being Sign and references to his facial expressions.

I think I said his facial expressions mirror the expansiveness of his bodies motion.

Audio: from podcast if available…

TR:

Hopefully, by now, you too should at least start to see the art. It’s the familiarity with the culture that enables Cheryl to recognize such detail.

CG:

Everything that I do has something about disability or Deaf culture in it. I engage with it seven days a week. Whether I’m making something or reading or watching something. I try to immerse myself in the cultural aspects of Deafness and Disability. That brings a more lush Audio Description

TR:

That level of detail and equity goes as far as seeking input from those being described.

CG:

I sent Antoine the script because it wasn’t going to be in the captions for him to read. He really liked it and he corrected one part that he didn’t like. It didn’t feel fair to him and he gave me words that not only feel more fair to him, but were more beautiful than the words I had chosen. It was so collaborative and so beautiful.

When I’m describing what somebody’s body looks like or how it moves I send them my script. I ask them what they think about how I wrote it. or I tell them I’m going to audio describe this please tell me how you want time to describe what you look like. Sometimes people will send me a description that’s actually not very visual.

[TR in conversation with CG:]
Like what?

CG:

Like when I say how do you want me to describe how you’re moving? And the response is a man with Cerebral Palsy. That doesn’t give me a sense of how you move, but I asked and you answered. And I respect your answer. But it is tricky because the point of audio description is to give people a flavor of the visuals and man with Cerebral Palsy that’s not very visual is it?

[TR in conversation with CG:]
No, not at all.

CG:

If it’s your content and I’m describing you and that’s all you give me ok, that’s what I’ll use.

When it’s my content I’ll use their words as the starting point and expand to make it more descriptive and more visual oriented.

[TR in conversation with CG:]

Give me an idea of the types of things that you would include in a description of someone.

CG:

I try to always describe something that relates to race or ethnicity. If I know how the person identifies then I can use those terms. If I don’t then I might be more descriptive. for instance, I describe myself as a white woman, which is kind of descriptive but not really because my skin tone is darker than any of my white friends. I’m the darkest person I know in my circle of white friends so it’s not super descriptive to say that I’m white. But it wouldn’t be useful to say I’m a brown woman because I’m white. I just have kind of light brown skin. If I don’t know their ethnicity I might say someone with a dark skin tone, someone with a fair skin tone. Sometimes I’ll defer to hair. A woman with bright red hair.. She’s probably white if she has bright red hair. now not necessarily of course.

[TR in conversation with CG:]

(Laughs…) Now-a-days!

CG:
There are different reasons why someone would have red hair regardless of their ethnicity.

[TR in conversation with CG:]

What would make you choose their hair and what would make you include that in the description. I wonder why would they say that? Why did they now tell me that this person is a Black person or whatever. And I’m like hmm, let me see if this is going to be really necessary to the story line.
CG:

Yeh!
[TR in conversation with CG:]

Sometimes it is and sometimes it isn’t. And it leaves me wondering why they made that choice and why they didn’t describe the white person.

CG:

Ok, get ready!

[TR in conversation with CG:]
Yeh, ok! (Laughs.)

CG:

Oh my! I cannot tell you how with you I am. I’m going to describe something if it feels relevant to the story or for political reasons.

Just end my career now if I ever put something out there where I say the black person and the person meaning white. I don’t know if I would ever recover from my remorse.

I don’t do, a wheel chair user and a person. Huh! No! If there’s a wheelchair user and there’s someone else standing. One person sitting in a wheel chair and one person standing. I make political choices If one person’s race or ethnicity or nationality becomes relevant to the story, I am going to make a point to name everybody’s so that I’m not singling one person out as the other or the weirdo or the outsider.

There is no way that someone is ethnic and some other person is not ethnic. I just cannot even wrap my head around … I don’t even know what ethnic food means, what on earth, what? (Said with a lot of annoyance!)

What food doesn’t come from a culture? What? (Said exasperatingly)

No, I will name them all or I will name nobody. And it really depends on the content creator, what they’re going for, how much time there is and yes is it relevant. Is it going to make a difference to the story for me to know something about the ethnicities of the people involved and is there time to get that in there. And if I can’t describe them all then I can’t describe any. or sometimes I will tell somebody, you need to stretch out that first scene because I have got to get that description in there. I have to!

TR:

Movies, television are often a reflection of society. It’s not surprising that the politics of the world impacts the way we think about and create access to content.

There are many who believe the best approach is to ignore race or ethnicity all together. As Cheryl points out, the results don’t lead to equality.

CG:

I think when Audio Describers are shy, oh I don’t’ want to say those words, as an Audio Describer your comfort and discomfort are not supposed to be part of this. You’re censoring it for the viewers.

You know I was really moved by your episodes around Black panther. There’s the access piece, but also one of the ways we white wash is to pretend like white people are neutral and just people. And so whatever we think is important is what’s important. And yeh, they had some cool costumes in Black panther, but ok, cool costumes whatever. That’s not fair. It’s so beyond not fair, it really is a show of white supremacy.

[TR in conversation with CG:]
Mm Hmm! (In agreement)

CG:

To neutralize overt displays of culture that are not white, you erase them, you ignore them. That is white supremacy. And it’s not ok.

If the film maker did not erase culture then the Audio Describer or Captioner really should not erase culture as well.

[TR in conversation with CG:]
Absolutely!

CG:

Some people feel like it’s just the detail, no. We’re talking about humanity and we’re talking about dehumanizing people. Willfully dehumanizing people when we leave stuff out

TR:

Cheryl says the same occurs in captions.

Not only is she creating films, accessible content through subtitles, captions and audio description, Cheryl produces the podcast Pigeonhole.

As described on Apple Podcast:

Pigeonhole challenges the stereotypes that disabled people are all white, straight, middle class people in search of a cure for their bodies and minds
the way mainstream media would make it seem. Made by from disability community, and centering disabled people as audience, Pigeonhole interrogates the
assumptions and biases we hold about disability and embraces all parts of people’s identities. We uplift disability culture, celebrate identity, and break
out of the narrow pigeonholes people attempt to stuff us in.

She’s a fellow recipient of the New Voice Scholarship warded by Association of Independence in Radio.

Receiving that scholarship puts us both in a very exclusive group of some of the best audio makers currently making radio and podcasts.

Audio: Microphone and other equipment collapsing during my conversation with Cheryl.

[TR in conversation with CG:]

We are having operating difficulties, please stand by

TR:

Well, maybe not all of us!

You can find Cheryl online at WhoAmIToStopIt.com She tweets under that same name, which again is her latest production.

Her films are available through New Day Film.com.

Checkout Cheryl’s podcast Pigeonhole – that’s P I G E O N H O L E. I especially like the episode titled “A nap and a bird.” It’s a short well told story that says a lot.

# Close

Audio: “As we proceed”

We’re continuing to advance our ongoing conversation around Audio Description and content access in general.

Considering captions & AD as art? Why shouldn’t it be. It’s the written word that has some pretty strict requirements including the time constraints and a need to quickly convey a message. We’re talking about talented writers and voice actors/narrators.

Let’s spread this way of thinking about accessible content.

Let’s push for content creators like Cheryl whether independent or in the major studios to see it as a tool to improve their storytelling. Then maybe we’ll see it become a part of the pre-production and be more of a reflection of the film’s conceived vision.

Looking at content access through a social justice lens feels like it leads closer to inclusion.

A big shout out to Cheryl Green! I enjoy speaking with her and appreciate her perspective. I guess I’ll go ahead and put this right here… I hope you will hear more from her right here on the podcast in the future.

You know, I still hope to hear more from you the listener. I’m not looking for you to write me long messages about how much you love the show or how funny you think I am or how much you like the production, or how much you think this podcast should be the top podcast on the charts or how it makes your day when a new episode publishes… no who would want to hear any of that!

I just want to know if it made you smile, gave you an idea or maybe encouraged you to do something.

I send myself fake messages about all the other stuff so I have that covered!

Seriously, holla back!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

So make sure you Subscribe!
Apple Podcast, Spotify, Google Podcast Sound Cloud
Audio: Bring the audio to a screech!

## TR:

if you mainly listen to the podcast via Sound Cloud I’m hoping you will continue to listen but I am moving away from that platform. I’ve been tolerating their interface in order to avoid the move to another service.

I may decide to keep one or two episodes available, but the best method for staying caught up is to subscribe via Apple Podcast, Spotify, Google Podcast, Stitcher, Tune In Radio and wherever you get podcasts.

You can always visit www.ReidMyMind.com

So there’s no confusion, that’s R to the E I D like my last name!

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

Audio: Reid My Mind Radio Outro

Peace

Hide the transcript

On the Mic with Roy Samuelson

Wednesday, January 30th, 2019

Picture of Roy Samuelson
Continueing the #AudioDescription conversation this time with Voice Over Artist and AD Narrator Roy Samuelson. Hear about his start in the business, more about the process of creating Audio Description from his perspective and our shared enthusiasm for the subject.

We’re talking;
* Process – can Blind and Low Vision Narrators participate?
* Normalization vs. Diversity – Is there room for non-white voices?
* Technology & other opportunities for growth in the field and more…

Listen

Resources

Transcript

Show the transcript

RS:
My name is Roy Samuelson, I’m a Voice Over Artist.

Audio: Multiple demos of Roy’s voice over work.

TR:
That’s up next, right here with me T. Reid
your host and producer of this podcast, Reid My Mind Radio!

Audio: Reid My Mind Radio theme Music

TR:

In 2018 I published some thoughts on Audio Description. That was followed up with an additional conversation on the subject. Today we’re continuing this exploration of Audio Description or AD. This time from the perspective of Voice Over artist and AD Narrator Roy Samuelson.

First, Roy answers the question, what exactly is a voice over

RS:

Voice over is anything you hear with a voice. That could be in a video game a character that’s talking. A commercial where someone’s introducing a product. A promo where there’s a T.V. show being advertised, someone’s introducing when it’s going to be on and what channel.

TR:
As a kid, Roy and his class was assigned the task of interviewing anyone they wanted.

RS:

I wanted to interview someone att eh radio station. When I went there one of the first things the announcer showed me was how to angle the mic so the p’s won’t pop and I thought that was the most amazing thing I had ever seen in my life. Laughs!
This little adjustment could make such a difference. So my curiosity was definitely started then.

TR:

That curiosity along with some additional experience helped lead Roy to voice over.

In his early 20’s he landed a job with then Disney’s MGM Studios theme park in Orlando Florida.

DisneyJob

RS:

I would take over as a gangster and take the audience through all of the scary scenes in movies. I’d have a microphone and in between shooting things I’d be narrating what was going on around the place.
Every 6 to 8 minutes I’d get blown up and start the thing again. So it kind of became like an exercise in just building the skill of talking to people who are paying attention to the story that they’re seeing. That kind of introduced me to voice over.

[TR in conversation with RS:]
What makes a good voice over artist?

There’s a bunch of different opinions. I like to see voice over as a form of acting. It’s a character whether it’s a narrator, a character in a cartoon or even just a commercial. It’s a character telling a story and being part of a story and sharing that with people.

[TR in conversation with RS:]

Do you have a background in acting as well?

RS:

I do yeah. I took a lot of improv classes. In school I had a lot of opportunities on stage and that’s really helped a lot.

TR:

That acting experience eventually landed Roy in a script writers group.
These meetings brought together professional script writers seeking feedback from actors who would cold read their scripts. Meaning, there was no preparation on the part of the actors.

RS:

We would read the characters and read the description and afterward the feedback was all about the writing. So the spotlight was definitely on the script and not the actors and I felt that was so enjoyable. I could play and I could have fun do these ice cold readings without a lot of preparation. The more times I practiced, the more experienced I got with cold reading. When I found out about audio description it seemed like a real segue way from what I had been doing at the script writes and even as far back as that Disney job along with all the other voice over work that I’ve been doing. It felt like a right fit.

[TR in conversation with RS:]

So how did you actually find out about Audio Description?

RS:

A friend of mine referred me and I didn’t literally knock on the door, but I knocked on the door for about two or three years just letting them know I was available and strongly interested and the response was well we’re kind of booked up right now we got everyone we need but thank you for checking in. It wasn’t a brush off it’s just that’s where it was. Every now and again there would be an opportunity where I could fill in for someone and I did. It was so exciting and so much fun and I said thank you so much any other time please let me know, oh sure we’ll let you know. Another year passed . It took a little while.

TR:

In order to get better insight on how Audio Description is made, I asked Roy to walk us through the process
from his perspective.

RS

Audio: Upbeat music…

The scripts are pre-written by, they’re called Describers.

I call myself a Narrator, Audio Description Narrator.

The scripts come to me pre-written and in it are obviously the words that I say. There’s a bunch of queues that tell me when I say what I say. For example, a queue could be time code, where I’m watching the screen and reading the script at the same time and on the screen there’s a time code (like a stop watch). When it gets to a certain point in time that’s my queue to start talking.

there’s visual cues or audio queues. Sometimes it’s the last few words of dialog that the character is saying. It could be even a pause between a long section that I’m speaking. First two sentences then there’s a 2 or 3 second pause before I start speaking again. There’s all sorts of different queues that they use.

TR:

Process makes production efficient. But
they can also unintentionally exclude people from
participating.
Visual cues for example could limit a blind Audio
Description Narrator’s ability to independently function in
such a position.
When I asked if laying down all of the voice over work and
editing at the appropriate time positions was an option,
Roy explained further.

RS:

That could be a way. I’m on a few one hour shows, when we’re all in sync and the script is ready, we’re able to finish in about an hour. They give me four hours total, just in case something can come up . For the most part, it’s not real time but it’s pretty close to real time.

TR:

Watching over the entire recording process is the AD Director. Familiar with the script, they’re listening for any mistakes including mispronunciations and time overlaps.

[TR in conversation with RS:]
So you’re sitting there watching the time code and reading the script, what happens if you go a little longer? Is it just okay, take two?

RS:

If there’s one line that I did not speak quickly enough and the last few words and maybe the last few syllables are spilling over to dialog , as you know that’s not fun for an audience member. They do their best to adjust it either by having me go a little faster or they try to change the words or they even slip the audio that I recorded and make it slide in to fit just perfectly.

TR:

Fully aware that Roy’s responsibility in the process is voicing the narration, I still had to ask;

[TR in conversation with RS:]

How do they determine which narrator is right for a movie or project?

RS:

That’s a great question. I’m learning, I’m definitely on the action adventure horror side of things. (Laughs…) You know with Criminal Minds, the upcoming Girl in the Spider’s Web, the Inspector, Jurassic World. This is the genre that is pretty narration heavy and I do my best to go as quickly as possible without sounding fast. I’ve done some other projects that are more wonderful in the sense of awe inspiring, kind of take it all in sort of thing. Those are the sorts of things that I been cast. That’s something they know I can do and I would think the people that make the decision it makes it easier for them. Oh yeh, this is something Roy’s already done before.

[TR in conversation with RS:]

One that I talked about and this was my personal opinion was Black Panther. So Black Panther ended up being voiced by what sounds like a British White Man.

RS:

Oh!

[TR in conversation with RS:]
For me as the consumer, I thought it was a little disruptive…

RS:

Sure!
[TR in conversation with RS:]

… to the whole feel and aura of the movie.

RS:

Yeh! Absolutely.

[TR in conversation with RS:]

I ended up hearing from some other people who said that same British person voiced Captain America. They were like, I didn’t like the fact that it was a British guy voicing Captain America. People felt a little upset by that. What is taken into consideration when these choices are made?

RS:
Oh it’s so exciting I have so many things I want to talk to you about with
this.

[TR in conversation with RS:]

Okay!

RS:

I remember there’s a quote by Shonda Rhymes where she talked about normalizing instead of diversifying. I’m seeing so many femal voices, people of color voices all sorts of opportunities. I hate to say it, the stereotypical white male voice that has been so common is now not as common which is great. I think there’s many more opportunities different voices to be in this. I think it can only help the story. I think you named two really great examples. When you’re in a story you don’t want to be interrupted. So when the audio description comes in it shouldn’t be out of left field.

I do think these companies are more aware of the content of the story being told and they’re taking a lot of consideration into that.

[TR in conversation with RS:]
That’s good to hear.

[TR in conversation with RS:]
One of my complaints in terms of the script and how things are determined, what are you going to describe? So if I go back to Black Panther, there was a very interesting thing that I found out because it was being discussed. It was not included in the description at all it came up like months after on a radio program I was listening to. They went into more description about the spaceship. I guess in one of the angles when the ship came down, they said how it resembled an African mask.

RS:

Hmmm! (In understanding.)

[TR in conversation with RS:]

They all look different but I get a real sense of that. Plus the fact that the spaceship was created like that , that blew my mind! But I never got access to that information.

RS:

Oh!! (In further understanding.)

[TR in conversation with RS:]

So there was a decision made. Someone didn’t think that was important. So this is why I’m always wondering well at some point it seems to me that the writers of the description should be the writers of the movie.

RS:
Oh, I see.

[TR in conversation with RS:]

They have the vision right? the Director, they’re the ones making these decisions . So some of that information of what they want that consumer to feel , whoever that consumer is Blind or sighted, that should be passed along and so I always wonder, are there conversations between the audio description company and the actual producers and writers of the film. And it doesn’t seem like it. Maybe on like an independent.

RS:

I’m not sure which film it was, but I know it was a big budget film, they definitely cared about to make sure the audio description was heard and they brought in the team. I was brought back and recorded some lines that were very nuanced.

So I think there is a genuine care for the audience for audio description. I’m not going to make a generalized blanket statement on that but I think there are people who are involved outside of audio description but still want to care about the things that you’re talking about.

I’m not sure if Haunting on Hill house on Netflix is described. There’s an element of that series, after 10 episodes I was kind of familiar with the story line. There was an element that was shared on line and as soon as I heard it it was so obvious. It was one of those things like aw wow I didn’t even notice that.

But I think what you’re talking about, back to the Black Panther spaceship is that with audio description we are limited to … if a picture is worth a thousand words , there’s 24 frames per second you know it’s like… I’m not defending it but it definitely is selective. The audio description is by its very nature limited. I’d be curious if there is a way to have like I’m just brainstorming here but out takes or something else that goes deeper into the story to allow those visual elements. How exciting that would be.

[TR in conversation with RS:]

I think there is.

For the Audio Description experience part of it is so so frustrating. It has nothing to do with what you all are doing, it’s the technical side. When you go to a movie theater chances are they’re giving you either the wrong device or the device doesn’t work. So you have to run back over and find a manager. And in my case it’s always my wife. She moves a lot faster than I’m going to move so she’s doing it! Boom, boom, boom! And I feel terrible. I feel awful because she’s missing that part of the movie, but she doesn’t want me to experience it without it.
There’s all this time during the promos. Those aren’t described so I’m usually bored. It would also be a test of the technology because if the right track is coming through that’s telling you about the movie, then you know your stuff is working, you technology is working. This is exactly what they do in a show, like a Broadway show. They introduce you to the cast beforehand. They describe their costumes, they let you get acclimated to their voices, they’ll describe the set. All of that is done before the show. So I think like hey, why not put that out beforehand. Yes the movie is limited to that time, but the experience really does go past that time.

RS:

Wow!

TR:

Listening back to our conversation, I realize a few things.

First, I think I get a little enthusiastic about the subject.

Secondly, I referred to the issues encountered in theaters when using AD only as a technical problem. And while yes sometimes the problems arise from the technology, more than often I feel as though the problems stem from uninformed theater workers.

I’m still trying to figure out why when you let them know you’re Blind and want to use the Audio Description device they translate that to mean you want the device for the hearing impaired.

Come to find out, Roy is familiar with this faulty part of the process.

RS:

My mom wanted to watch a screening with audio description, same thing happened. It didn’t work. The exciting thing with that is the manager found out apologized profusely , they said it was a glitch . There’s other technology coming out. I want to say Acti View?

[TR in conversation with RS:]
Yes Sir!

TR:
Acti View is the app that allows audio description consumers as well as those using captions and enhanced audio, with the means of directly downloading their access solution. For more on this service and how it came to be, check out the episode where we speak to one of the founders.

RS:
That kind of stuff is starting to happen. I can’t help but think that this is an opportunity. The popularity of podcasts, audio books and how easily accessible those are for this audio description is kind of in the same world. Commuters who happened to be sighted can enjoy the experience of audio description and that can only help the audience get more opportunities that look forward to enjoying it.

Aw I’m so excited.

TR:

It was nice to hear that Roy and I share a mutual excitement for Audio Description. It made for a good conversation.

Not only did I appreciate hearing his enthusiasm for the subject, listening to him accentuates his ability to employ several styles in his narration work. Roy says he tailors his voice to the genre.

RS:

I gotta be part of the stories. I can’t sound happy and joyous all the time. Laughs…

TR:

Next time you’re enjoying a television show or movie with Audio Description and you find yourself thinking that voice sounds familiar. there’s only one way to be certain. Wait until the end of the credits and you hear;

Audio: Read by Roy Samuelson. (Audio Description from “Jurassic World Fallen Kingdom”)

TR:

You can connect with Roy on social media;
On Twitter @RoySamuelson and
on Facebook you can find him as Roy Samuelson Biz or
visit Roy Samuelson.com

Audio bumper

Audio Description isn’t new. The lack of AD in movies and television programming over the years since its creation amounts to exclusion.

The result, many in the Blind and Low Vision community feel as though movies are just not for them.

In 2019 however, there’s lots of reasons to give television and movies with audio description a try.

We have
the 21st Century Telecommunications Act on our side – leading to more content.
And we have multiple accessible ways of consuming that content.

. If you haven’t yet experienced AD either at home or in a theater , I urge you to give it a try.

It’s not just entertaining television and movies, more documentaries are including description. Something I’m personally happy to see.

The process of making video accessible shouldn’t itself be inaccessible to the community it seeks to serve. Blind and low vision people should have access to these opportunities.

Blind people come from all backgrounds. We’re Black, Hispanic, Asian, Native as well as white. We’re straight, gay, lesbian transgender. As we call for television and movies to be more reflective of our society so should the voices that describe these movies to us.

How do you feel about Audio description?
Holla back!
We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

We’re going to continue to explore Audio Description as we move through 2019. So my best advice for you to make sure you don’t miss that and everything else in store…

Subscribe!
Apple Podcast, Spotify, Google Podcast Sound Cloud, Stitcher, Tune In Radio or wherever you get podcasts.
Visit www.ReidMyMind.com

So there’s no confusion, that’s R to the E I D like my last name!

Audio: Dramatic closing music from Jurassic World, Falling Kingdom RS: “Cut to Black”

Audio: RMMRadio Outro Theme

TR:

Peace

Hide the transcript

Reid My Mind Radio: Black on Audio Description

Wednesday, August 15th, 2018

Earlier this year I posted an episode discussing my thoughts on Audio Description. While I’ve been consuming and thinking about description for some time, it was Marvel’s Black panther that sparked me to share some thoughts and ideas.

I decided to continue a discussion on the topic. This time it’s really a conversation. I called a listener who sent me feedback regarding the episodes question. Why didn’t Black Panther have a Black person narrating the description?

And as a bonus, the listener just happens to be someone I’d like to interview for RMM Radio!

So yes, we’re back on that subject or better yet, we’re Black on Audio Description. Let’s get it!

Listen

Transcript

Show the transcript

TR:
What’s up Reid My Mind Radio family? For anyone new to the podcast, my name is T.Reid.

This podcast more than often focuses on issues of adaptation and adjustment through interviews with people who have been impacted by vision loss – from low vision to blindness. I should say severe low vision because personally I’m tired of people telling me how blind they are without their glasses.

You Sir/Madam are more then welcomed here, but if you can put on your corrective lenses and get into your vehicle and drive off – you are not impacted by vision loss.

The people mainly profiled here are indirectly challenging stereotypes about what it means to be blind.

I’m always hopeful that listeners learn something new. Maybe it’s an unfamiliar subject or a new way of looking at or solving a problem.

Occasionally , I share my own experiences around becoming blind as an adult. These are influenced by all aspects of identity – including
gender, socioeconomic status, age, demographic location and of course so called race.
I mean, this is America!

A few episodes ago I discussed an aspect of blindness that can intersect with race.
Audio description!

Audio: “What” – From “Jay Z “Jigga what, Jigga Who.”

Well that could be two whats…

Audio: “What, What” – From “Jay Z “Jigga what, Jigga Who.”

Don’t be nervous! Let’s get into it…
After the intro…!

Audio: Reid My Mind Radio Theme

## TR:

Back to the questions.
What is audio description & what does race have to do with it?

If you don’t know audio description, let me really welcome you to the podcast. Audio description or AD is the additional narration distributed with a movie or television show that describes scenes without dialogue,
enabling a person to non visually follow or access the content.

That other what?
What does being black have to do with audio description?

On the technological level , nothing! But as we know, race is complex. It’s ingrained into the fabric of this country. The complexity though, isn’t tied to the tech, rather its the subtle aspects of language, decisions about what is relevant and the voice of the narrator that impact some viewers experience

In the earlier episode on audio description, I was specifically referring to the Marvel hit movie and what many Black people looked forward to as a cultural event; Black Panther.

Following that piece I received a bit of feedback.
If you go to the episode blog post at ReidMyMind.com you can see one commenter’s response and I encourage you to follow the link to her blog
where she shares more. She is a person who herself is involved in the description process. Self described as a white lady she was appreciative of the issues and questions raised and thought they deserved to be discussed. Shout out to you for the link love and being in the accessibility field. I think sometimes we forget that AD is accessibility.

I also received an email from a young lady – who closely identified with the issues raised in the episode.

She was pleased to know that she was not the only one who felt that the description included with Black Panther, well sucked! My words, not hers.

No shots to the gentlemen who described the film, you sound like you’re probably a very nice person and quite honestly, I’d love to speak with you. In fact, I reached out to Deluxe, the company who created the description for Black panther but I never heard back. I really wanted to begin a dialogue.

It seems fair that a consumer would have something to say about a product or service.
And personally I think it could be helpful to have a bit of input from those who consume your product or service. And well that’s today’s focus.

Audio: James Brown: Black & I’m Proud – Instrumental

That email expressing agreement with my opinions, was from a young lady named Denna Lambert. Like me she experiences blindness as an African American.

She black yawl!

I don’t often get the chance to meet new people who are blind and who are people of color. So I’m not gonna lie, I was looking forward to the conversation. I had questions.

So, let’s get black on Audio Description.

Audio: James Brown: “Say it loud, I’m Black & I’m Proud”

TR in conversation with DL:
You heard the podcast, what was it that jumped out to you to write the email and say “Hey I feel this too, I get it!”

DL:
Well being blind, sometimes just getting audio description feels like a luxury and your happy that somebody did it and it came out at the same time as everything else and I can just shut up and be happy. But at the same time with you being really thoughtful in what you were saying like “hey this was a mismatch” And I was like “Oh, you voiced what I was thinking!” Just knowing that I’m a consumer of a service and we should have a voice in how that service is implemented. If it’s missing a mark we can help take it to the next level. Yes people have fought and probably sued some theaters to make sure the equipment is functional and that is there from day one. But let’s take it to the next level to make sure that it is culturally confident. And it was like Oh Snap I got to support this too. I think that is why I reached out because I was thankful for being silently dissatisfied at some level. I felt like I didn’t get the full Wakanda experience.
TR in conversation with DL:
I’m still lacking some Wakanda experience myself. [laughs]

TR:

That Wakanda experience was what drove millions of Black people to get excited about the movie.

Some indeed were fans of the Marvel franchise, some may have even been fans of the comic book. But many were simply looking forward to a movie with strong diverse images of Black people on screen.
I talked a bit more about that in the original episode of the podcast on this subject.

Denna herself was anticipating the movie just as much as many others and got a bit more into it than I did.
DL:
I was in the hype just like everyone else when the trailer first dropped which didn’t even have audio description. I called my mamma and said let me get my dashiki so I got my dashiki and I was ready and had my headdress. When i heard voices of Andrea Bassett i was like “Yes!” So I went and thankfully the movie theater I went to they had the audio description devices ready and they were fully operational. From the first introduction where they were talking about how Wakanda was created with the different tribes and the describes voice coming up I was like “Who?! Who is this?!” But I’m still excited. So it was kind of a mismatch from everybody who was in the theater. Some people brought their gymbays and people had their dashikis and you know just black power. And you can hear the describer’s voice and not to say you can sum up a movie by their voice but it was like “huh.” The descriptions were definitely okay but that’s the piece as a blind viewer. But there was so much content for any viewer whether they were sighted or blind. I have to wonder what did i miss. Could there have been different words used that would have more aligned with the culture and the theme of the movie.
I started using AIRA and now i started seeing more AIRA agents of color. Im seeing Antonio and Annika and all them. And I’m like “Okay I’m going to need yall and come and describe some movies for me.”

TR in conversation with DL:
MMM you just made me think about something hold on one second. That takes that whole idea of description out of the movie theater because that’s the whole purpose of AIRA and then cultural inclinations about various things that you are doing.

DL:
Yeah. I’ve seen Black Panther abot 3-4 times just because anybody who wanted to go I wanted to go with them. There’s probably so much mystery and thoughtfulness that was put into it. SO like the scene where T’Challa and Nakia were in the club and they were trying to go after the main guy and they were in their attire. I don’t think the person described the attire, he described her movements but i was watching a video from one of the directors and he intentionally used the colors; green, black, and red to symbolize their african pride. And that’s something that just one little sentence could have brought that out. While I was very happy and thankful that the description was available since day one because that certainly was not the case 10-15 years ago that i could just show up whenever i wanted to. But i think there is some growth that could happen with this area of accessibility.

Tr in conversation with DL:
SO went you went a bunch of times with different people, did you go with anyone that was blind or no?

DL:
No actually no it was just with different sighted friends who just wanted to go.

Tr in conversation with DL:
Did you compare notes with them or anything at all?
DL:
A little bit because I went with some friends that were black and then I went with some friends that were white. And you know they were asking me what was this and what was that and i was like well I don’t know. [Laughs]

Tr in conversation with DL:
“I don’t live in Wakanda!” [laughs]

TR:

There are definitely some overlaps in this conversation around audio description that transcend cultural Competence.

Feeling as though audio description is a privilege, I’m sure is something many blind people have felt.

Going to a theater and the device doesn’t work, well you may not want to trouble the person you’re with to quickly exchange the device. That means missing part of the movie and chances are you don’t want someone to have to do that.

Shout out to ActiView and their audio description solution that puts more of the power in the consumers hands. You can check out the Reid My Mind Radio archives for that interview on that service that I personally hope begins to get more movies in their app.

Audio: Public Enemy: Party for Your Right to Fight

Privilege or a right?

If audio description is access to content, then I believe it’s a right. Like everyone else who has the right to pay money to watch a film or television show, people with disabilities have the right to audio description, captions and physically accessible theaters.

What makes our lack of excitement about Black panther’s audio description
so confusing is the lack of consistency between the big and small screens.

Watching the Marvel franchise on Netflix with audio description is vastly different from Black panther.

For the sake of comparison, I asked Denna about her thoughts on Marvel’s Luke Cage.

Luke Cage is the black superhero who calls Harlem home. He can’t be hurt. Bullets bounce off and knives can’t penetrate his skin.

The person describing Luke Cage, who by my account sounds like a white man, describes the other shows in the series, Daredevil, Jessica Jones, The Punisher and more.

DL:
He’s been consistent through the marvel comic series as netflix has been rolling it out. So it was almost embedded in brain that this was the dude that’s going to bring it. There was definitely some awareness in hearing when they would say things like “he’s wearing a fedora.,” or “he’s swaggering down the sidewalk” or “he did a dab” or the hair. And I don’t know if just anybody can point these things out.
With Luke Cage there was nothing apologetic about how this is the blackest comic that you are going to get. What I really loved is that the describer, I don’t know if it was apparent to the visually to whomever was viewing it, but I love that they reference the specific artists as they came up in the Paradise Lounge.
So to me that was showing respect and it gave me the experience of thinking “okay let me go look for some of these people.”
Tr in conversation with DL:
It’s not only the ones who are actually performing, they also are good at including people who are just around and even in other scenes.

DL:
Yeah so even like the picture of Biggie, he described his expression, his crown and how it was kind of laid to the side. To me that, I don’t know, it just seems…

Tr in conversation with DL:
Just culturally confident.

DL:
And I think with you were saying earlier, it wasn’t like two different scripts. It felt like there was one different script with the description being apart of the verbalizations too.

Tr in conversation with DL:
I almost don’t even think of the description as description while watching netflix.

DL:
Right!

TR:

That term truly encapsulates what should be a part of the audio description checklist.

Is the description culturally competent – meaning are we informing the blind viewers about the subtle references that will make sense to them? This would probably require input from the films creator if there’s no one in the know involved in the process.

This idea is already relevant to the movie or television show’s dialog and choices made regarding character development.

It’s one thing being black and looking for true representation in Hollywood. What about as a woman? As a black woman with a disability.
Tr in conversation with DL:
What do you think about the role of the black woman in Luke Cage.

DL:
Oh now that was pretty sweet! I was really proud that Luke Cage he’s like the strong Black man. Hes caring. I was really glad to see his girlfriend, Claire. And she was holding on to that no this behavior of holding on to your anger, she grew up with that and she was not going to tolerate it.
I loved Missy. I loved that she was this strong woman who was feminine. She
Didn’t lose not just her sexuality bit sensuality.
There was so many different aspects of black women in this. You had Mariah.
Tr in conversation with DL:
[laughs] She was crazy.

DL:
She was great! She played that! I loved seeing Luke’s father.

Tr in conversation with DL:
I didn’t realize that he passed, I totally forgot he passed away.

DL:
Yeah! Because he was in House of Cards and I was so happy to see he was in there. SO there were so many examples, a whole spectrum of what blackness in. You know you don’t have to be the thug or the jessabella. There were so many different examples of black women in there that i was really impressed.
I love how Missy called out all of her coworkers cause they were staring at her prosthetics. SHe was like “let’s just get a look at it, im here, im not going away, this happened.” And i was just glad that she called it out. That was a way of handling disability, it became a part of who she was. She even described on when she was using her prosthetic arm or robotic arm and when she wasn’t. Which I don’t know if that was so important for me to know but the describer pointed that out.

Tr in conversation with DL:
I think the whole idea was that shes statint to use it more and it’s even more of a part of her, she’s getting accustomed to it. And so I’m wondering if she’s going to get her own thing.

DL:
Yeah you know what, she was doing some things that were like humanly impossible so I was wondering if she’s going to get some superpowers.

Tr in conversation with DL:
Yeah because isnt that a Stark arm?

DL:
Yeah yeah.
I loved the complexity of them having different territories; the choinese, the russians. They pulled in references for Katrina and showing that there can be disagreement. Like the judge who said “i had a family in louisiana who lost everything, don’t use this as an example for your shadiness. I don’t know I loved it I felt it was pretty cool. The ending ended with I think he changed the picture from Biggie to Mohammed Ali. But that’s the thing! I think the way that the description was, we noticed those things but we don’t know what we missed in Black Panther.

Tr in conversation with DL:
What i liked about it was how they would say it because the director meant for it to be. For example when Mariah and Shades were standing in front of the picture and the crown aligned to Mariah’s head to show she was the queen.

TR:

As we see with Luke Cage it doesn’t specifically mean the narrator has to be black. Or does it?

TR in conversation with DL:
What would you think about a woman describing that? A black woman doing the description in Luke Cage.

DL:
Ohh. Oh.

Tr in conversation with DL:
You think it could work?

DL:
It would have to be the right voice because I’ve seen on Netflix the Unbreakable Kimmy Schmidt because it wasn’t really for me. But the person’s voice on there, I don’t’ know if she’s’ white or not, but no she could not do Luke Cage. [Both laughs] We don’t want her! She can do some other shows but she can not do this.
If Octavia Spencer or, why am I forgetting her name.

Tr in conversation with DL:
I know who you’re talking about you’re talking about the woman from How to Get Away with Murder.
DL:
Yes!

Tr in conversation with DL:
Yeah she has a great voice.

DL:
Yeah if she wanted to describe it, then yes.

TR:
For those who are fans of How to get away with murder… my apologies. The star of that show is the incredible Academy award winning Viola Davis.

Whether the description is voiced by a man or woman, Denna says:

DL:
It has to be somebody who follows that it was Harlem so you have to have somebody who has that Harlem… I don’t know.

Tr in conversation with DL:
That texture in their voice, I know what you’re saying.

DL:
It cannot be a very thin voice it’d have to be a full bodied voice.

Tr in conversation with DL:
I think it could work. That is if they don’t give me the job because I’ve put it out there before that I wanted that job. Although I like the guy who does it, I’m fine with him but if he’s going im going to jump in there because that’s Harlem. I’m not from Harlem, Im from the Bronx but I can take Harlem.

DL:
Yes! You could do it. [Both laughs]

TR:
Hey, there’s nothing wrong with trying to speak things into existence. But come on, , how cool would it be to have a person who is actually blind, from New York… born just a few miles away from Harlem, my Daddy’s from Harlem. And I’m blind. Universe, do you hear me talking.

#NetflixCallTReid

There’s much more to this discussion. Hopefully like the original episode, this will attract some feedback. I’d love to hear from others on this subject. Maybe you are a person of color and have some other examples of both disappointing and enjoyable audio description experiences. let me know. In fact, if you’re not a person of color and
was disappointed in the Black Panther description I’d like to hear from you.

When it comes to movies and television, Ultimately, , I think we all want the same thing; the right to enjoy the experience.

I’m interested in all experiences of blindness and disability in general, but I would really like to hear more from other people of color. I know there are some compelling stories out there .

For instance, corresponding with Denna prompted me to be even more nterested in her experience.
Let me show you what I mean.

Audio: Screen reader reading Denna’s email signature…
TR:
If you don’t speak screen reader, that was her email signature. Denna is a project manager at NASA.

Now, this wouldn’t be Reid My Mind Radio if we didn’t find out more about her journey. We’re going to get into that next time on the podcast.

So, if you’re new or if you haven’t just yet, may I encourage you to subscribe to the podcast. Reid My Mind Radio is available on
Apple Podcast, Google Play, Sound Cloud, Stitcher, Tune In Radio. If you’re using a podcast app you can find it there.
Go on over to ReidMyMind.com for links to subscribe as well as a transcript of the show.

Remember that’s R E I D like my last name.

If this was your first time here I know what you’re thinking…
It happens all the time…

DL:
happens all the time…

TR:
Wait until you hear what more is coming up!

Audio: Reid My Mind Outro

Peace

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