Hello everyone. My name is Sarah McDonagh, and I am one of your trainers in this unit. For those of you with limited or no visual access, I am a twenty-five year old woman with longish brown hair. I�m quite tall and I am wearing a black poloneck. Welcome to this video on the practical steps involved in providing audio description, audio introductions and audio subtitles at arts events. The general steps already outlined in the two videos you have watched on ensuring inclusion for all apply to audio described events and are therefore not repeated in this video, which focuses on tasks specific to providing audio description, audio introductions and audio subtitles at arts events. The tasks involved fall into five categories: scheduling, working with audio describers, fulfilling the technical requirements, spatial organisation and navigation, and communication and training. Firstly, when booking dates for your audio described show, it�s important to make sure that audio describers will have the opportunity to see the production at least twice in advance and with sufficient time to produce the audio introduction and audio description script. Your next task will be to book the audio describers at least six months in advance of the performance. You will also need to send them a programme, a script, a DVD of the show and arrange dates for them to see the production at least twice in advance of the event. It is also important to arrange dates for audio describers to visit the set to see the props and talk to the stage manager. Moreover, ensure that you arrange for a technically supported dry run, which is usually held the night before the show. In addition, you should agree on the dates for your audio describers to send you the audio introduction, both in written form and recorded on CD for you to send to patrons who have requested it. The audio introduction could also be posted on your venue or event�s website. If your event also includes surtitling for dialogue in another language, arrange for the surtitler and audio describer to liaise well before the performance, so that the audio describers can have access to the surtitles with sufficient time to work them into their script as audio subtitles. Another crucial aspect of organising an audio described event is making sure you fulfil all the technical requirements, as outlined in our first video on ensuring inclusion for all. For audio described events specifically, you must have a sound proof booth with a view of the stage for the audio describer or a quiet room with video relay equipment including a camera and a monitor that provides a clear picture of the stage. You also need infrared or radio equipment, and you can find more details about audio description equipment in the reading on audio description for this unit. When it comes to spatial organisation and navigation, in addition to identifying the seating areas with optimal headset reception, as described in the first video on ensuring inclusion for all, you should also be aware that patrons with guide dogs may prefer an aisle seat, and that while partially sighted patrons may wish to sit near stage, sometimes this is not the best position for reception signal. Moreover, ensure ushers and other front of house staff are trained to assist patrons with getting around the venue, to get their tickets, pick up and leave back headsets, to get to and from their location in the auditorium using the route with the fewest obstacles, or to go to the bathroom, cloakroom or bar. Also when taking their leave of patrons, staff need to make sure patrons know where they are, which direction they are facing and where to go next. As for communication and training, in addition to the steps outlined in the first video on ensuring inclusion for all, it�s good practice to reach out to people who are blind or partially sighted by promoting your audio described event using a range of media, such as social media, radio, TV, podcasts, the press, via user associations, talking newspapers, online groups, and printed on tickets. It is important to provide information and assistance on getting to the venue. Also, have promotional or informational videos about the event audio described and posted on the event or venue�s website. The day before the event, in addition to the steps outlined in the second video on ensuring inclusion for all, a technically supported dry run is normally held the day before the event. During the dry run, it is essential to carry out a full check of all the equipment, ensuring the sound on the stage can be heard properly from the audio describer�s headphones, the video relay equipment, if used, is in full working order, the signal reception is clear in the patrons� seating area, the audio describer can see the surtitles clearly if voicing audio subtitles, and that headset batteries are charged and headsets are clean, working and ready to be distributed to patrons. For guidance on what to do on the day of the performance and after the event, refer back to the second video on ensuring inclusion for all.
