| PDF Pages<\/th>\n | PDF Title<\/th>\n<\/tr>\n | ||||||
|---|---|---|---|---|---|---|---|
| 7<\/td>\n | Foreword <\/td>\n<\/tr>\n | ||||||
| 8<\/td>\n | Introduction <\/td>\n<\/tr>\n | ||||||
| 9<\/td>\n | 1\tScope 2\tTerms and definitions <\/td>\n<\/tr>\n | ||||||
| 10<\/td>\n | 2.1\tGeneral terms 2.2\tAudio-specific terms <\/td>\n<\/tr>\n | ||||||
| 11<\/td>\n | 2.3\tLanguage of presentation terms <\/td>\n<\/tr>\n | ||||||
| 12<\/td>\n | 2.4\tAudio description production terms <\/td>\n<\/tr>\n | ||||||
| 13<\/td>\n | 3\tFramework and process considerations for audio description 3.1\tGeneral 3.1.1\tAlternate names for audio description 3.1.2\tMotivation for audio description and spoken subtitles 3.2\tTypes of audio description 3.2.1\tLive audio description 3.2.2\tPre-mixed audio description <\/td>\n<\/tr>\n | ||||||
| 14<\/td>\n | 3.2.3\tHarmonious commentary 3.2.4\tExtended audio description 3.3\tCreating audio description 3.3.1\tNarrator preparation <\/td>\n<\/tr>\n | ||||||
| 15<\/td>\n | 3.3.2\tContent genre and programme category 3.3.3\tScripting 3.3.4\tWriter considerations 3.3.5\tRecording 3.3.6\tVolume <\/td>\n<\/tr>\n | ||||||
| 16<\/td>\n | 3.3.7\tAudio technician considerations 3.3.8\tInclusion of consumers in the process of creating audio description 3.3.9\tInclusion of consumers in evaluating audio description 3.4\tLive audio description 3.4.1\tLive narration considerations <\/td>\n<\/tr>\n | ||||||
| 17<\/td>\n | 3.4.2\tPreparing for live narration 3.4.3\tNarrator transitions in live audio <\/td>\n<\/tr>\n | ||||||
| 18<\/td>\n | 3.5\tPre-recorded descriptions 3.5.1\tCreation of pre-mixed audio after main production process 3.5.2\tAudio description team for pre-mixed audio 3.5.3\tEvaluation of pre-mixed audio 3.5.4\tVoices for pre-mixed audio 3.5.5\tSound engineering for pre-mixed audio 4\tGuidance on audio description 4.1\tGeneral considerations 4.1.1\tUser considerations <\/td>\n<\/tr>\n | ||||||
| 19<\/td>\n | 4.1.2\tConsistency across technologies 4.1.3\tConsistency within a programme and series 4.1.4\tPlacement of descriptions 4.1.5\tUse of pauses 4.2\tDeveloping audio description 4.2.1\tClarity in audio description <\/td>\n<\/tr>\n | ||||||
| 20<\/td>\n | 4.2.2\tCreativity in audio description 4.2.3\tNarrating\/reading audio description script <\/td>\n<\/tr>\n | ||||||
| 21<\/td>\n | 4.3\tStyles of narration 4.3.1\tNewsreader style 4.3.2\tCommentator style 4.3.3\tFirst person <\/td>\n<\/tr>\n | ||||||
| 22<\/td>\n | 4.3.4\tThird person 4.4\tLevels of importance 4.4.1\tUsing importance levels 4.4.2\tEssential information 4.4.3\tSignificant information <\/td>\n<\/tr>\n | ||||||
| 23<\/td>\n | 4.4.4\tHelpful information 4.4.5\tIrrelevant information <\/td>\n<\/tr>\n | ||||||
| 24<\/td>\n | 4.5\tGeneral guidance on descriptions 4.5.1\tDescription of sounds 4.5.2\tLogos\/credits\/titles 4.5.3\tOn-screen text 4.6\tGuidance on identifying objects 4.6.1\tIdentifying objects <\/td>\n<\/tr>\n | ||||||
| 25<\/td>\n | 4.6.2\tDescribing colour 4.6.3\tDescribing visual effects 4.7\tGuidance on identifying persons 4.7.1\tIdentifying characters or places by name <\/td>\n<\/tr>\n | ||||||
| 26<\/td>\n | 4.7.2\tPhysical appearance <\/td>\n<\/tr>\n | ||||||
| 27<\/td>\n | 4.7.3\tRace\/ethnic origin <\/td>\n<\/tr>\n | ||||||
| 28<\/td>\n | 4.7.4\tGender-related 4.7.5\tDisabilities <\/td>\n<\/tr>\n | ||||||
| 29<\/td>\n | 4.7.6\tAge <\/td>\n<\/tr>\n | ||||||
| 30<\/td>\n | 4.8\tGuidance on relationships 4.8.1\tGeneral guidance on explicit content 4.8.2\tGeneral guidance on relationships 4.8.3\tEstablishing place\/setting\/time of day <\/td>\n<\/tr>\n | ||||||
| 31<\/td>\n | 4.8.4\tInteraction between animated characters\/objects and real actors 4.9\tGuidance on parts of speech 4.9.1\tDescriptive verbs <\/td>\n<\/tr>\n | ||||||
| 32<\/td>\n | Bibliography <\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":" Information technology. User interface component accessibility – Guidance on audio descriptions<\/b><\/p>\n |