Thanks for attending the SOVAS panel on Audio Description! Here’re more details:
Roy Samuelson has voiced thousands of AD film and tv projects, and currently recording 11 yet-to-be-released series. He coaches VO professionals who are now constantly working in AD.
He’s also a consultant, and catalyst for quality and excellence in AD, approaching accessibility not as a requirement (which is important!) but as the opportunity it is. He also advocates for all aspects of AD to be in parity to sighted audiences (much more below), and regularly works with and within the entertainment industry to include blind pros in every aspect of AD.
Here’re the panel’s questions, and my answers:
Can you comment on the unique nature of voicing for audio description as compared to other voice over genres?
For film and TV AD narration, specifically, AD requires a combination of a lot of various VO skills:
Taking words off a page
Cold reading
Timing
Professionalism
All are key to being a success…
But, most importantly, is a nuanced and subtle performance that doesn’t get in the way. I coach VO performers to find that sweet spot, and it’s a high wire act! The performance doesn’t sound like a performance; it doesn’t stand out, yet fully supports the story being told.
Presentational reads, or cold, sleepy reads, are each the “tell” of an unexperienced VO performer in AD (voice pros who sound like they like the sound of their own voice? Always a bad fit for this work).
While the AD voice talent is most often working with a director/producer in a recording session, do you think that there is a kind of synergy between the writer and the voice talent? How does one depend on the other to create an effective audio description?
This assumption of most often working with a director/producer is not at all my experience. I’m not at all often being directed anymore. But when I was, the engineer, and director, would work hand in hand in redirects based on what was happening in the context of the scene, or to pick up script typos or my mouth flubs. Regardless, it’s all a team effort. As for my experience, I sometimes average about 1000 cues a day for about 4 hours of total run time content. And it moves very fast; I’ve done 100 cues, about 1300 words, in 13 minutes.
I’ve worked with a dozen different prominent AD companies, and each has their own approach.
In the majority of my experience, I’m reading to picture on my own.
For when I am directed, particularly for well-known series that can’t release the video, I do work with a director and engineer. The engineer and director in the studio guide the performance and make sure that words are correctly read.
Regardless, the writer has given us the script, usually at the last minute, and that script is the guide for words to say, obviously, and also timing.
The writing makes all the difference. A great writer will not only find the essential visual elements to include in the AD script, but also word choice and sentence length among many other decisions. A skilled writer makes the AD script language fit the content, which of course makes the VO job entwined perfectly like a dance.
In the script, I’m given:
Actual words to say, obviously
Timecode of when to record, beginning and ending. If the total cue length isn’t includedI do a lot of math for figuring out how long these cues are!
Sometimes I use software that automates the process, similar to ADR recording, or dubbing.
Within the scripted cue, sometimes there are pauses within cues, either for allowing some needed silence, or making room for audio (dialogue, explosions, other audio cues)
Specifics of the cues, like Brisk or Fast (and the rare but inevitable times where the AD has to talk over dialogue)
Pronunciations
And much more
In addition to the above, a good AD writer fits the words in without rushing all the lines.
They also find word choices that support the story.
Wall Street Journal had a great article about AD for Bridgerton being fully redone so that the AD writer could incorporate the race of characters, as well as make the writing more saucy, reflecting what was happening in the actual images.
You’ll need context and intention to do this work to the best of your ability, and every resource helps.
How can the folks who are here – beginners as well as veteran voice actors – pursue work as voice talents for audio description projects?
I’d begin with by strongly recommending that you, as a VO professional, consider your motivations. It’s important to not see this as a “helping” or charity work. “Helping blind people” might feel good, but it does come across as a better than thou attitude, which no one wants to hear (and that attitude does come out in reads – they sound condescending or presentational).
Our role as voice professionals is to give access to the visuals in a way that doesn’t get in the way of the story. And reading as if you, the voice, are the show? That will definitely get in the way.
Next, practicing cold reading is an essential skill. You need to tune your instrument and hear yourself back as you do this work.
Finally, connect with audiences and those who work in the industry. The culture of AD itself has changed dramatically, not just because of streaming services, but also the wants and needs of our audience. Pay attention to what they want and find ways to deliver that. And with that:
As you pursue opportunities in AD:
Be a learner. I’m still being coached myself, trained in the best way to use performance.
With those acting chops honed, and voice over specifics cultivated, you can know that your voice and how you use it is unique.
There are over 8700 projects in tv and film with AD, and countless opportunities for live events, museums, education, and corporate. So know that scarcity isn’t a factor; don’t fight for crumbs. Stand for what you know is right, and acknowledge your own good work and small successes. Celebrate the small wins. Brene Brown says that her research data supports the fact that if we don’t acknowledge incremental wins – we increased burnout. So take those little steps. (And celebrate milestones, too!) This applies to all aspects of VO!
More importantly: as of now, the AD industry is the Wild West. So a few things:
— Be sure to vet your assumptions with others who have worked for the companies you’re pursuing. I can’t tell you how many voice professionals have said their poor experiences with AD companies, and there are, sadly, consistencies.
— This work is more than just getting paid; have you considered these aspects?:
Will you do short turnaround times?
Will you get paid for rerecording an entire script because of rewrites, or a change in pronunciation of a lead character?
Will you accommodate last minute scripts that aren’t formatted?
Do you do the engineer’s job and place each cue to picture?
Are you available at the drop of a hat, even when it conflicts with personal or professional obligations, or not?
These and many more variables directly affect your payment, your time, and your ability to complete tasks.
— And most importantly: get everything in writing. Just like any professional endeavor, having things on paper (yes email counts) means that there’s a reference and what’s agreed upon.
I’m working for, or in regular contact with, a dozen reputable companies who work in Film and TV AD. Through those conversations I’ve learned that work in AD takes a specialized approach for each company. You have to be ready and know what you’re getting into, and each company has their own way of recording.
For those who are ready, the AD companies right now are actively seeking writers of AD. Their pool of voice pros is flush, with them constantly getting requests for work in narration. These AD company contacts have constant deadlines and emergencies, so hiring someone is not necessarily as important to them as it is to a vo professional! But I’ve found ways that do cut through. That’s part of my coaching in the workouts and individual one on one sessions. I’ve seen many skilled AD narrators who will likely never work for certain companies because of their haphazard and generalized approach.
Another question I was asked from the panel: “Nothing About Us Without Us” is, to me, such an important aphorism for disability activists. In 1981, I had the pleasure of working with Dr. Margaret Pfanstiehl, a blind woman, in developing the world’s first audio description service. Please speak to the myriad ways in which audio description can provide employment specifically for people who are blind.
“Nothing without us” is much more accurate. Blind people are skilled, resourceful, and problem solving individuals on a spectrum of accessibility; and each individual uses these kinds of “soft skills” (a soft skill: something that isn’t necessarily clear on paper, but is a asset to any group or organization) in powerful ways. Sighted people sometimes can have good intentions, but assumptions get in the way of a lot of efforts here. And as more people learn about the importance of representation, there are a lot of good things happening.
For instance, Bold Blind Beauty has been instrumental in leading the Audio Description Awareness Day among many other initiatives. Stephanae’s work extends beyond being a quality connoisseur of AD – She’s a storyteller for advocating side by side with other blind people – and we use AD to represent just a small step of why representation matters. Sure, we’ve heard – “Nothing about us without us” – but, it’s really nothing without us, and Steph models this with every interview, article and social media post. There’s a lot of assumptions about what blind people can and can’t do. If you’re interested in learning more about the capabilities of blind people, check out BoldBlindBeauty.com
Imagine Marvel coming out with 10 new films, and they say “we are so excited about these ten new stories! But we can only afford to do 6. The rest we will hire a local community theater, and sketch out with a pencil what it is about. Aren’t you excited?” Our audiences are put in the discriminatory position that no sighted audience has been asked: do you want more audio description, or do you want better AD?
Audio Description was created by blind people for blind people. Years ago, Rick Boggs taught me that in one of our last conversations, and I agreed to spread the word. One of the challenges specifically in the film and TV AD, is the archaic catch all term Describer. I’ve mentioned this privately and publicly numerous times; for our audience, that problematic term is ideal for other aspects of AD, but with film and tv having many roles, which I outlined in the ACB speech a few years ago, that helps distinguish and show the many roles: writing, writing editing, casting, directing, operations, sound editing (placing), sound mixing (how loud or soft the AD is up against the original audio), quality control, and distribution, off the top of my head here. Distinguishing these roles helps specify to blind professionals where they are a best fit. Some people, like Chris Snyder who won the first ever AD category last year for SOVAS, is not only a working VO professional, but also QC, and sound engineer. Nefertiti is quality control, voice over, and writer, and many more.
Late in 2022, ACVREP asked for feedback on certification for blind AD writers, and that panel overwhelmingly made the case for blind ad writers. (You can read more about this conversation, and the call to action, by going here.)
In addition to voicing thousands of AD blockbuster films and recognizable TV series, I’ve produced AD with all blind teams. And I’ve gotten the word out to entertainment industry through various avenues. One of my most valuable contributions was AD narrators tv credits qualifying to join the TV Academy; that inclusion in the entertainment industry means more blind and low vision professionals can not only vote for the Primetime Emmys, but also have an influence on the decisions for TV.
When I started getting the word out about audio description narration, I was facing a lot of slammed doors, and still do. It’s amazing to see how much things have changed, and why VO pros make a difference.
I’m proud to have narrated AD for thousands of AD blockbuster films and recognizable series (the link is a sampling). Also, for a sense of my approach beyond narration, here’re some recent AD accomplishments:
Brought AD narrators to qualify to join the TV Academy, home of the Primetime Emmy Awards
Worked with Performers With Disabilities committee and SAG Awards to bring nominated entries to require audio description, connect with sponsor for live AD for Awards show, and promote publicly their inclusion for blind audience and blind VO professionals.
Established the IMDb of Audio Description The ADNA – a database of AD professionals
Produced the Television Academy event on audio description: How Blind People Watch TV
Presented at NFB main conference 2022
Presented at AFB conference 2022
SOVAS nominee for AD under the narration category, jump starting the AD categories for SOVAS
Produced audio description for an Oscar-nominated documentary with a total blind team
Founded The Audio Description Discussion with thousands of members and lively conversations on quality and excellence
Created The ADNA Showcase for all professionals to promote their work
Created Kevin’s Way – a new measure of excellence for previously marginalized content users
2020 ACB Keynote banquet speech address. I was honored to present as keynote speaker for the ACB conference – where I introduced the many roles of AD, and why quality matters. People now talk about the process and including blind professionals in every aspect of this work.
2021 Audio Description Achievement Award recipient.
More Links
Articles and Interviews with Roy
Check out the 20k hertz podcast “A Thousand Words”
ADNA Presents: podcast on AD featuring everyone here on this panel and 150 more AD professionals focusing on quality and excellence in AD
Kindle Version of some AD Narrators (collection of voice pros’ interviews in audio description)
And sign up at roysamuelson.com for coaching opportunities with inclusive voice over workouts for blind and sighted pros, and more news.