AVD-Related Presentations and Workshops on ATA60
October 24, 2019
Are you a CAD (Certified Audio Describer)?
Joel Snyder
This session offered an overview of the fundamentals of audio description and how interested individuals can become professional audio describers.
Subtitle Editing: Walking the Fine Line Between Red-Pen Pedantry and Facilitating Audience Immersion
Vanessa Wells
This session aimed to learn more about the nitty-gritties of editing, the ethics and responsibilities of the audiovisual professional, and avoiding common pitfalls in subtitling.
October 25, 2019
Roma: Intralinguistic Conflicts
Luz Gomez
Discussion of the intralinguistic conflicts in the Mexican film Roma that were caused by variants of the Spanish language.
Audio Description: The Visual Made Verbal
Joel Snyder
This session provided an introduction to audio description, or the process of “translating” the visual aspects of a film into a verbal experience for people who are blind or visually impaired.
Interlingual Real-Time Closed Captions: Where Accessibility Meets Translation
Pablo Romero-Fresco
For the past 30 years, the production of closed captions in real time has enabled millions of people with hearing loss to access live television programs and events through same-language captions. Based on the results of the Interlingual Live Subtitling for Access project, funded by the European Union, this session focused on interlingual real-time captioning, a new development that requires a combination of interpreting and translation subtitling skills. This new method provides access to live foreign-language programs and events for both people with and without hearing loss.
October 26, 2019
Audiovisual Accessibility: What Translators Need to Know
Gabriela Ortiz
This session provided an overview of the types of media accessibility (namely, audio description, closed captioning, respeaking, surtitling, and relaxed and signed performances) in which translators may work, specifying the skills involved in and the technical aspects of each. The discussion also included the resources generally required from translators wishing to work in this field.
Translation Goes For Baroque: Bringing Lost Operas Back to Life with Supertitles
Joe McClinton
This session provided an overview of the types of media accessibility (namely, audio description, closed captioning, respeaking, surtitling, and relaxed and signed performances) in which translators may work, specifying the skills involved in and the technical aspects of each. The discussion also included the resources generally required from translators wishing to work in this field.
When You Are the Audio and the Visual: Working as an Audiovisual Interpreter
Ellen Sowchek CT
This session focused on the work of the audiovisual interpreter. These professionals might be lesser known but are vital in enabling an audiovisual work to find success with an audience.
A Look At Subtitling And Closed-Captioning Software
Deborah Wexler CT
This session reviewed the most important tool for the audiovisual linguist: subtitling and closed captioning software. The speaker covered the features, pros and cons of the top programs on the market, and glimpsed into the future of audiovisual software.
Translating Hollywood: The Limits of Localization
Elena Chang
English and Korean share little common ground, both linguistically and culturally. Therefore, finely nuanced localization is critical when adapting films for a Korean audience. In this session, cases involving film subtitling/dubbing were examined.
Accessible Filmmaking: Integrating Translation into Film Production
Pablo Romero-Fresco
Film translations are often produced as an afterthought, with limited time and money. Sometimes there is no contact between the translator and the creative team working on the movie. Remuneration for the translator is also low. Accessible filmmaking proposes to tackle this issue by integrating translation and accessibility into the filmmaking process.