Reid My Mind

TR:
What’s up Family? It’s your brother, Thomas… Thomas Reid!
Host and producer of this here podcast. Sheesh!
If you’ve been here for a while, you know sometimes something about audio description gets on my last nerve and I choose to speak on it. Well, that hasn’t necessarily changed.
There’s a lot to be annoyed at.
Sub par AD is running wild out here.
Culturally competent audio description is still extremely lacking.
Streaming networks like Apple choose to use like 3 or four narrators for everything.
Ok, admittingly, I don’t watch that much on Apple, but I don’t think I’ve ever heard a narrator of color on any content.
And to all you Apple stans, please don’t send me one example in their defense.
AD providers still haven’t committed to working with Blind Narrators and QC specialists in a sustainable way.
If any network were going to show support to Blind narrators and QC Specialists, I would have put my money on Apple. This is why I don’t gamble y’all!
Last year, I decided that I’m not going to rant. Well I’m going to try not to rant. That doesn’t mean I’m going to be quiet. I want to find ways to say something but be creative.
So today, I present to you, my take on the true crime genre…
Take it away bro!
Narrator:
The following is a dramatization.
The purpose of this is not to blame, implicate or judge individuals. It is however an artistic expression of the frustration with the current state and foreseeable future of audio description.
While this story is fiction, it does include real people from real publicly held events.
In most cases their names have been withheld, but not the companies they represent.
— Reid My Mind Radio theme Music
— Suspenseful cinematic music
Lies, deceit, murder?
This is the case of AD, A True Crime Story!
— Audio: President Obama signing the CVAA
President Obama:
The Twenty First Century Communications and Video Accessibility Act will make it easier for people who are Deaf, blind or live with a visual impairment to do what many of us take for granted from navigating a TV or DVD menu, to sending an email on a smart phone.
… I’ll sign it now… (Applause)
— An uplifting pop tune.
AD:
I can’t tell you how excited I was when President Obama signed this legislation.
Even watching this now, gives me chills!
Narrator in conversation with AD:
Why was this so special to you?
Oh my goodness!
This was the chance I was waiting for since starting my career!
It might sound corny, but I always knew, this was my calling.
I was certain, this, was the opportunity I’d been waiting for.
Would you mind introducing yourself?
Sure, all my friends call me AD. My pronouns are They Them.
In two thousand ten, AD was only in their 20’s. Relatively early in their career, and they were bouncing back from some setbacks in the early two thousands.
My career really began in theater.
Then, in the 90’s, I got a chance to work with PBS.
I have to say, It really hurts me today as this administration is so set on destroying PBS and NPR.
I not only feel a kinship with these vital organizations because I worked with PBS, but I know what it feels like to have a target on your back.
I’ve been in that position for the past few years.
Not by this administration though. Well, at least, not yet!
AD continued at PBS and while they enjoyed that work, like others, they had dreams of reaching more people.
In two thousand ten, with the signing of the Twenty First Century Communications and Video Accessibility Act, or CVAA, AD’s future appeared to be bright. Advocates worked tirelessly to help pass legislation that would help AD and others not only secure the right to work, but broaden their career opportunities.
No longer would they be confined to limited hours on children’s television, they were going prime time!
I went from begging film makers to include me, to Hollywood specifically calling me! They were now seeing me, as a valuable asset able to enhance their stories!
And then, the streaming services came online. Oh my gosh! Just when I thought life couldn’t get any better.
This was around 2015.
Streaming companies were invested in AD and their talent.
Netflix Representative:
I think we first heard the calls for audio description
around 2014 when we were just launching into our own original content.
We spent most of 2014 doing a lot of the sort of back end work trying to prep ourselves to be able to provide audio description consistently. A lot of different research and creating different technical specifications to make sure that audio description would play back on all the many different devices through which people access Netflix.
We also created audio description style guides. We wanted to make sure that when we were ordering audio description that there was a consistent experience across that was high quality, that used good voice talent, good script writing, and that also met, like I said, the technical specifications so that we could ingest those files and then make sure that they could play back on all the different devices.
We also set up a lot of partnerships with different companies that create audio description to make sure we had a really healthy supply chain. Uh, knowing that we were launching full force into a huge volume of content, we knew that as we made a commitment to create audio description on all of our original content, that that was not going to be a trivial amount. We set up that supply chain and made sure we had good script authors and talent and recording studios, and also made sure that we had a really healthy pool of people who could QC audio description to make sure that we had had a set of ears on the files before they went live, to get ahead of any issues that might come out. So we worked on that for most of 2014 and then in 2015 we launched Daredevil without audio description. So that was definitely a miss, and we heard it from the community loud. Luckily, we had already done all that legwork, like I said, in 2014 so we recovered quickly and put that up, as well as about 100 other titles by the end of the summer of 2015 and from there, we dug in hard on that investment, and I’m happy to say that today, we have over 13,000 hours of audio described content on Netflix.
We’ve committed to creating audio description on all of our original content, and we also do our very best to make sure that we get the licensed content, we’ve actually added the need for audio description to our contractual obligations with our content partners.
It was so promising!
Even better, listening, reading and watching the feedback from the community through podcasts, blogs and YouTube was so gratifying.
You can’t under estimate the value AD brought to the community.
Fan 1:
AD changed my life.
Because I now had access, I find myself in conversations with more people because I can talk about the latest film or streaming series. I’m bonding with more people and I never realized this was possible.
Fan 2:
Watching AD, helped give me the courage to believe I could do more. I wanted to follow in their footsteps and today I’m working in a field that I never believed was possible.
Fan 3:
Today, I don’t watch anything unless it has AD.
With it’s new found popularity and all the opportunity that came from the CVAA, AD moved from one gig to the next.
Live television events like the Olympics and even award shows wanted AD.
More streaming services were coming online and sought out AD.
I was working constantly.
I was even invited on a cruise [laughs] only to find out it was a working trip.
In between projects, I had time to self reflect.
I listened to the community. That was eye opening.
No pun intended.
Ok, huh, AD has a sense of humor.
When I finally understood that my work wasn’t serving everyone equitably, I knew I needed to do a better job.
I realized, I had to better represent all cultures.
I even tapped into my ability to speak multiple languages and started bringing that to my work.
I was excited about not only my future, but what it could mean for my supporters.
Wow! At a time when I didn’t think the work could get better, it became even more of a passion!
— suspenseful music…
So where did things go wrong? What exactly happened to AD?
More after this message.
POD Access trailer
— a bouncy bass drum opens to bright synth trumpets announcing a fun, celebratory up-tempo Hip Hop beat
THOMAS:
If you’re currently thinking about launching a podcast, but have no idea how to start?
CHERYL: The types of podcasts, finances.
THOMAS: Recording, editing, marketing.
CHERYL: Social media, branding.
THOMAS: Theme music, a logo.
CHERYL: Maybe you’ve started one but feel as though you need a bit of coaching to really get it going? Where should we begin?
THOMAS: PodAccess.net.
CHERYL: In this series of 11 episodes, we’ll cover the basics of things to consider when starting a podcast.
THOMAS: Unlike most of the information you’ll find out there on the subject, we recognize the importance of accessibility.
CHERYL: Accessible content creation! The three ways you can potentially consume podcasts.
THOMAS: Listening, reading, watching.
CHERYL: We’ll share resources and practical tips from other Deaf and disabled podcasters in all stages of production. Tell a friend and an enemy to follow or subscribe to POD Access wherever you get your podcasts and on Instagram @PodAccess.
CHERYL: Connecting d/Deaf and disabled podcasters to audiences and each other!
— music fades out
Ten years after the CVAA, AD, was having even more of an impact on it’s supporters.
— Covid 19 Pandemic Announcement of Lock down.
In two thousand twenty the Covid 19 pandemic hit and forced corporations around the world to re-examine what work will look like in the near future.
In fact, for many it forced them to consider what workers look like.
Fortunately, some corporations had open minded people in charge and saw talent in the Blind community. Rather than just seeing fans of AD, or consumers,
— An uplifting synth opens to a pop beat.
they saw people who can help contribute and work with AD.
Wait, what?
You’re going to tell me I get to work directly with those who have been supporting me for years?
They say if you love your work, you’ll never work a day in your life.
— Music ends.
Well, I went on a permanent vacation when I got the chance to work with more of my supporters. It made me better!
— Dramatic bass heavy suspenseful drone.
And then things fell apart.
— Downton Abby Scene with TTS
Online Streaming companies turned to Artificial Intelligence (AI) and text To Speech (TTS).
For more on exactly why, we turn to a representative of Amazon
who further explained the company’s position during a panel discussion held in two thousand twenty two at the ACB convention.
Amazon guy:
We looked at the velocity of of how fast audio descriptions were being created. We looked at the very large back catalog of content. And we thought, you know, if we were going to really achieve the vision of what our audio description program is within Prime Video, that every single title is described, and, you know, audio descriptions are generally as available as closed captions are, then we would need to, you know, disrupt how audio descriptions are created. And so we’ve been working on text to speech audio descriptions for about a year and a half to date.
We have over 4000 text to speech tracks live on the service.
We have one person who kind of does everything the writing and the descriptions and the time coding, and then directs the text to speech engine. But we have every single track before it’s published on the service also goes through a human quality control review. So we are making sure that there is a second person involved in the process that reviews and detects those things that you know the writer may miss.
The more iterations you do on anything, the better quality product there will be.
Did anyone consider that yes, quality gets better over time, but in what other field do they release a sub par product to the consumer?
Who does that?
We spoke with AD supporters who shared their frustration.
Consumer 1:
I feel forced to make a decision every time I open a streaming service and launch a series or movie only to hear what I know is TTS.
I know they say they’re working to improve the quality of these voices, but it feels like they’re working harder to try and trick me.
Some of these companies using TTS narrators are crediting and naming the narrator.
Even if that TTS voice is based on a human, that doesn’t feel genuine to me. It feels like you’re just playing in my face.
Using AI in the production process goes beyond TTS.
The mixing is automated as well. And so it’s a separate process that is fully automated. You write the script and you get live feedback on the audio as you’re writing it, but then eventually, when it goes into mixing, that is automated as well.
We definitely realize there as well that is not as good as a human going through and mixing the track, but we think over time, we can build improvements into the track to get it as close or as to human quality mixing in the future.
The benefit of keeping everything automated, and that’s one of the reasons why we’re going fast, and we feel a little bit more comfortable about going quickly, is all of our tracks are never finished. I think that’s an important thing that we can do. We can very easily fix the script, and then, you know, automatically re voice and remix the track. If, if the improvements in text to speech come, we can, you know, use new text to speech engines to, you know, improve, improve the quality of the voicing. And as we’re, you know, making improvements in the automated mixing quality process as well. It’s very easy to for me to take all 4000 of those tracks and rerun them through the new, enhanced improvement in the mixing technology to improve the mix as well.
What?
So a consumer who watches a film that has poor quality description or doesn’t like the TTS voice, should just come back in a year or two to try again?
Who consumes content in that way? How could they say this is a working solution with a serious face?
As we hear from representatives from other streaming companies, it’s obvious, AI and TTS was always in play and part of the plan.
Peacock:
Certainly we are committed to innovation and would look to in the future, find ways of making audio description as efficient. Right and widely available as possible. And you know, text to speech could be one solution that that’s pursued.
I think you know there are ways that industry has to look to be able to deliver more content faster. And certainly, you know, technology solutions like text to speech may help.
Paramount:
Right now we don’t, and you know, we don’t have any immediate plans to do so, but I would say that, you know, my answer to that is, is similar to what Tom said, which is that
it is something that we’re looking at, and in part because, not as so much as a replacement for the live voice version of description, but as a way to possibly expand the amount of description that we have available on something like paramount.
The quality is improving there. It’s,
it’s certainly quicker than doing the traditional way. And it’s less expensive.
so I think it is something that we’re just looking at down the road as something that you know potentially could offer more content with description available.
Hulu:
In regard to Hulu originals, we currently only accept audio description that are read by human voice actors. So we don’t take auto generated or speech to text at this time, and we do try to make sure that we have consistency in our voice talent across episodes and seasons of a series
That was representatives from Peacock, Paramount and Hulu respectively.
Next, hear from HBO Max, Apple and Disney.
HBO Max:
We actually strive to really have our content voice acted. First and foremost, we’re a company. We’re an entertainment company. And you know, our value is really to create great entertainment. So it makes sense.
Apple:
We’re focusing on, you know, live human being, audio description. It’s kind of where we are at the moment. You know, I think, as some people have said, I think no one really knows where the future is going to go, but it’s not where we are currently putting our focus. We like the way things are at the moment.
Disney:
It is definitely something lucrative to look at. However. We have not ventured out that way just yet.

Consumer 2:
All of the effort these companies put into TTS, it’s like their trying to convince me that I want something I don’t want.
Today, it’s hard to find any platform that doesn’t employ TTS.
I think that’s a business decision that each studio needs to make.
We don’t want the trade off to be between text to speech and human that’s not the trade off we’re trying to address that. Really the trade off we’re trying to address is between no audio descriptions and text to speech.
— In order and panned from left to right:
A man confusedly says “Huh”, followed by a woman and dog with similar responses.
Consumer 3:
Why do, they, get to decide my options?
As a Blind consumer, I’m left with two choices, watch, or not.
Not much of a choice in my book!
The lack of choices can make some feel helpless. Not exactly what the CVAA was striving for.
Equal access, equal opportunity and equal respect for every American.
Equal access, equal opportunity, the freedom to make of our lives what we will; living up to these principles is an obligation we have as Americans.
What hurt me the most was, I expected someone to say something in my defense.
It was, after all, an organization of the Blind. I expected more pushback.
Not everyone was silent.
The community WAS speaking out against TTS and AI early on.
Online conversations like Blind Centered Chats, that often featured people from the community were vocal.
Clip from BCAD Chats 001
We didn’t talk about the fact that, well, how do we get the industry to really center blind people and blind and low vision people? Because right now I’m not sure if that is the case when it comes to audio description. I don’t always feel as though we are at the center of this. And there’s many reasons that I feel like that. Number one, I think this conversation about quantity and quality really does come down to who is being centered. Because when we talk about the quantity and really going for that, I think quantity, that whole, that kinda relates back to the whole compliance, let’s just get it done because the government is telling us we need to get it done. And that, to me-
NEFERTITI: Mmhmm. Checking that box.
THOMAS: Yeah. That, to me, brings about the Amazons, the AI, and all of that.
SCOTT N: [growls]
THOMAS: That’s what that’s about. And I think we all, the majority of us probably agree that that’s not really quality, you know, and we’re not centered in that conversation. That wasn’t about us. That wasn’t about bringing a good product to the people. That was more about, again, checking that box, like Nef said, and just making sure our numbers, and we do it efficiently, right? We do it on the cheap. That’s what that’s about. So, we’re not centered.
NEFERTITI: Do it on the cheap, do it at scale.
Other podcasts and content creators were vocal, perhaps not as loud as they could have been, but those in power either didn’t hear or care to hear the feedback.
This clip from an episode of Reid My Mind Radio’s Flipping the Script on Audio Description, reminds us that even audio description providers were sounding the alarm.
Clip from FTSAD: No One Will Save Us Part 2
When I invited Eric and Rhys to join me on the podcast,
I asked them each to bring three to five issues that most threaten the future of AD and some thoughts as to what we can do about them.
Eric:
I mean, there’s a few things that stand out.
Obviously, TTS synthetic speech, however you want to phrase it, I think that’s a problem.
It impacts our voiceover folks. But it also affects every area downstream for audio description.
A lot of companies that have no business being in this space are in this space. And they’re in it in major ways.
Rhys:
And it goes beyond just the sound of the voice, right?
Great narration track is often done by somebody who’s connecting to the material. Well, you know, who doesn’t connect to material? TTS doesn’t connect to the material, there’s no lived experience of being LGBTQ for a TTS voice. Whereas you get the human narrator, skilled, who’s doing content of that type, in the connection that they come through, it’s not performative, but it’s subtle, but it’s there, and it’s present. If you’re an adept listener of audio description, you can hear it, that person gives a crap about what they’re doing. And
we stand to lose all of that.
Does TTS serve a function in audio description? 100%. Like.
How to videos on YouTube, go for it.
That’s an entirely reasonable application for TTS. But if you’re taking premium content, what is it you’re trying to achieve by doing that?
The answer all your questions in life is money. That’s the old cliche.
It’s a pathetic thing that I have to say, but that’s really the answer. It’s always comes down to money.
— Sesame Street Word of the Day!
Can you say capitalism?
Ahh!The truth is, everywhere you look, there’s someone
trying to make a fast dollar by cutting costs and sacrificing quality.
Remember Economics class? Caveat Emptor or Let the buyer beware.
Consumers of all types should be educated enough to know the value of what they’re buying.
In this case, we’re talking about large companies, networks and streaming services that frankly have no experience with audio description.
So, how can they even begin to define quality AD?
Yet still they’re procuring millions of dollars in AD for old and new content.
They’re being misguided, misled because they’re talking to the clowns. They’re talking to people who are trying to sell them on something. They’re not necessarily talking to the audience.
I always encourage them, Are you sure, have you spoken to anybody about this? Has anybody told you by the way the audience doesn’t like this.
But the other part of this is an AD providers. If you’re confronted with that conversation, what do you do? Do you just go? Yes, sir, we can do it? Or do you go and take that opportunity to talk to them about what they’re asking for, to take that opportunity to go? Are you sure that the experience you want your audience to have of your content? That is your precious, precious item is a subpar experience? Because it doesn’t need to be.
Some how, some where, someone found a way to
either justify or convince streaming platforms and broadcasters that AD users want TTS.
TR in Conversation with Eric & Rhys:
Wow, so you telling me that companies come to you? And they say we want TTS?
Yep. They do.
AI and TTS definitely can help a single passion project based podcast to produce an idea in order to express himself and hopefully make a point. But even I agree, there are limits.

— Suspenseful cinematic music

AD is still working today, but they say their future just doesn’t shine as bright as it did in the early years following the CVAA.
I can only imagine the pain of living day after day, being turned down for gigs, while watching as AI and TTS slowly replaces you.
I’m sure that can really take a toll on someone.
it feels like the classic Hollywood story.
Rising up from the bottom after working so hard, and then reaching the top.
It’s one thing to lose after so much success, but I can’t even describe the pain of watching the community move on.
In fact, they even continue to celebrate as if their unaware of the losses.
Sources tell me, AD, is considering going underground.
The less value placed on them the less likely supporters will be inclined to pay for their services.
That’s not really an optimal solution for anyone, but I also understand it is a response.
If AD can only make their way into the hearts and minds of creators, chances are they can have even more of a future. Not only providing the equitable access but perhaps even more of a chance to flex their creative muscles.

AD:
For years, I based my value on my productivity and how I could impact the organization’s bottom line.
I no longer see it that way.
I’m aware of what I bring to the community.
Not only am I helping more people access content, but I’m impacting culture, education, creativity. I’m making relationships and connections that go beyond access.
Today, I’m working more with independent producers who know the value of human centered art.
We’re having conversations that go beyond sticking to the script. I’m being asked for my creative input. This gives me hope and is actually exciting!
A true crime story that ends with the presumed victim feeling optimistic?
This is far from the norm.
Strangely, in this story, the true victims, don’t seem to realize they’ve been lied to.
They don’t know they were deceived.
In fact, some are celebrating as if none of this ever happened.
If that isn’t a crime, tell me , what is it?

— Music continues and fades out.

TR:
Reid My Mind Radio Family!
A few episodes ago I told you all about Portraits and Portals.
A powerful art showcase uplifting disabled artists and disaster survivors of color .
The art takes on multiple formats including audio, poetry, song and visual art.
As this is Flipping the Script, I know we have listeners and readers who are quite skilled in writing description.
Well it just so happens that Portraits and Portals are asking the community to share some of their creative and poetic descriptions for the artwork posted on the site.
They’ll include it among the access resources available for visitors with vision loss.
Just go to PortraitsAndPortals.com and visit the artist pages.
You’ll be able to provide your description for visual art pieces.
Who better than those who rock with Flipping the Script.
I’ll link you there directly on this episodes blog post at ReidMyMind.com.

This concludes the Flipping the Script on Audio Description season.
I’ll be back and hope you stay tuned.

— Abbreviated “Your Official”

Official, uh uh official | Official, uh uh official !
Official, uh uh official | Official, uh uh official
You’re Official! | Reid My Mind Radio Family!

For all y’all thinking, hmmm, what can I do| I wrote a checklist so you can become official too
Sample: “One” Chuck D!
You just can’t be down if you don’t follow or subscribe | That’s the number 1 way to join this tribe!
Sample: “Two” Chuck D!
Shout it out! Tell all your friends and your foes | That’s the way we help each other and the podcast grows
Sample: “Three” Chuck D!
Buy merch, shirt or hoodie for yourself or your boo | Now look at that, you’re official too! Woo!

Official, uh uh official | Official, uh uh official !
Now whose official? | Official, uh uh official
You’re Official! Reid My Mind Radio Family!

Official, uh uh official | Official, uh uh official
I said who’s official? | Official, uh uh official
(Applause)
You’re Official! | Reid My Mind Radio Family!

— Music continues
Transcripts and more are available at ReidMyMind.com.
That’s my address on these internets.
And be careful, there’s a lot of artificial out here. It’s not all intelligent.
Sometimes it’s hard to know what’s real and what’s not.
There’s only one way to make sure you’re traveling safely out here, and you reach your intended destination.?
You gotta spell it right…
that’s R to the E I D!
“D” And that’s me in the place be!, Slick Rick

Like my last name.
— Reid My Mind Radio Outro
Peace

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