Audio Description for film and television is a pre-recorded track that uses verbal descriptions to provide information on visual aspects of a film or TV programme. In the UK it is currently the only accessibility strategy available for visually impaired audiences and although it provides access to a large number of people, its shortcomings also fail to engage others in audiovisual experiences. The Enhancing Audio Description project explores how digital audio technologies can be applied to the creation of alternatives to Audio Description with the aim of personalising access strategies. Such personalisation would allow users to select the method utilised to access audiovisual experiences, by having choices that include traditional forms of accessibility as well as sound design based methods. The present article analyses the results of a survey and focus groups in which visually impaired participants discussed the advantages and disadvantages of AD and it demonstrates not only the diversity of experiences and needs of visually impaired groups but also their eagerness for change.
Enhancing Audio Description is a research project that explores how sound design, first-person narration, and binaural audio could be utilised to provide accessible versions of films for visually impaired audiences, presenting an alternative to current audio description (AD) practices. This article explores such techniques in the context of the redesign of the short film ‘Pearl’, by discussing the creative process as well as evaluating the feedback supplied by visually impaired audiences. The research presented in this article demonstrates that the methods proposed were as successful as traditional AD in terms of providing information, enjoyment, and accessibility to audiences, demonstrating that both practices can coexist and, as a result, cater for the different stylistic preferences of end users.
<b><i>Introduction:</i></b> Intra-arterial chemotherapy (IAC) is useful for eye preservation in advanced retinoblastoma (Rb). Intra-vitreal chemotherapy (IvitC) is the latest treatment for vitreous seeds. <b><i>Methods:</i></b> The present study is a retrospective assessment of 100 eyes, treated with primary or secondary IAC alone or with IvitC. We evaluated demographic and clinical variables, eye salvage, associated adverse events, and patient survival. Data were analyzed using descriptive statistics. Kaplan-Meier survival curves and Cox hazard ratios were utilized to assess the effect of demographic and clinical variables over eye salvage. <b><i>Results:</i></b> Bilateral Rb was observed in 61% of patients, and 57% of eyes received secondary treatment. Forty eyes needed intra-arterial plus IvitC and 62 presented advanced disease (group D and E). Three- and 5-year ocular survival probabilities were 75 and 68%. We found a higher risk in group D and E eyes and those requiring 2 or more routes for ophthalmic artery catheterization. Patients coming from other countries also showed increased risk. Using primary or secondary treatment, or IvitC, did not affect this risk. Overall rates of survival and eye salvages were 98.8 and 73%, and we had a 100% catheterization success and none ophthalmic arterial occlusions. <b><i>Conclusions:</i></b> In an upper middle-income country such as Colombia, a specialized institution counting with therapeutic alternatives and a multidisciplinary team can reach rates of patient survival and eye salvage similar to those of high-income countries.
The present paper provides an insight into the acoustic characteristics of one of the spaces used for the performance of the York Mystery Plays:S tonegate, as treet in central Yo rk (UK).A ne xperiment conducted in a controlled environment with the aim of determining the optimal method for acoustic measurements on this site is first presented. The methods tested were the Exponential Sine Sweep (ESS)m ethod with the application of time averaging of eight 15-second exponential sine sweeps and the ESS method with a9 0-second sine sweep. Results demonstrate the greater robustness under the test conditions of the ESS method when used with as ine sweep of 90 seconds in length. Results from measurements at Stonegate using this method are then discussed, demonstrating that the space has appropriate reverberation time and clarity values to ensure speech intelligibility butwould prove less satisfactory for the performance of the plainchant items that were part of the plays. Results also indicate that Stonegate presents lowlevels of spaciousness and high levels of listener envelopment at most of the receiverpositions studied. PACS no. 43.20.Ye, 43.28.Hr,43.55.Br,43.58.Gn 98 ©S.Hirzel Verlag · EAA Lopez et al.:S tudyofthe acoustics of Stonegate ACTA ACUSTICA UNITED WITH ACUSTICA Vol. 99 (2013)
York Minster is the largest medieval Gothic cathedral in Northern Europe, renowned for its magnificent architecture and its stained glass windows. Both acoustic measurements and simulation techniques have been used to analyse the acoustic environment of its Chapter House, which dates from the 13th-century and features an octagonal geometry with Gothic Decorated stone walls replete of geometric patterns and enormous stained glass windows, covered by a decorated wooden vault. Measured and simulated room impulse responses served to better understand how their architectural features work together to create its highly reverberant acoustic field. The authors start by analysing its acoustic characteristics in relation to its original purpose as a meeting place of the cathedral’s Chapter, and end by reflecting on its modern use for a variety of cultural events, such as concerts and exhibitions. This work is part of the “Cathedral Acoustics” project, funded by the EC through the Marie-Sklodowska-Curie scheme.
This paper explores the creation of an alternative to traditional Audio Description for visually impaired film and television audiences. The Enhanced Audio Description (EAD) methods utilise sound design as the main vehicle for accessibility and advocate for the integration of accessibility practices to filmmaking workflows. Moreover, this integrated strategy results in an organic form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. The present article reflects on the discussions held during focus groups in which mixed audiences of visually impaired and sighted people watched the same film, with the same EAD soundtrack over headphones. The discussions highlight the potential of the format as an example of universal design and accessible filmmaking, which can be enjoyed regardless of audience’s sight condition and can be offered alongside traditional Audio Description (AD) in order to cater for different aesthetic preferences. Lay summary Audio Description (AD) is a third person commentary added to film and television productions to make them accessible for visually impaired audiences. Traditionally, AD is added to productions after they have been completed, meaning that the creative and accessibility teams do not work together to produce the accessible version of the production. This paper explores an alternative to traditional AD, called Enhanced Audio Description (EAD), whose methods are integrated to filmmaking workflows. EAD moves away from a focus on verbal descriptions and instead focuses on sound design strategies. In EAD the traditional third person commentary is replaced by the combination of three techniques. The first is the addition of sound effects to provide information on actions, convey abstract scenes as well as indicate time, place, and the presence of characters. The second is the use of binaural audio (3D audio over headphones) to convey the position of characters and objects portrayed on the screen. Finally, first-person narration is used to portray feelings, gestures, colours as well as certain actions. The application of EAD methods results in a form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. Focus groups with audiences of visually impaired and sighted people demonstrated the potential of the format to be widely enjoyed, and to be offered alongside traditional Audio Description (AD) in order to provide accessible experiences which cater for different aesthetic preferences.
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