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My Approach

I create, voice, and record, spoken-word soundtracks contextualizing the sounds, and describing the on-screen activity, that the visually impaired can't see on TV shows, feature films, documentaries, and web content. And I aim to do it exceptionally well. Always.


Why? Because the end-user experience is everything to me — especially when it comes to having the story be enjoyed by the audience as closely as possible to the way its creators intended it to be. And because this is my dream "job".




My Methodology

My Methodology

  • I describe as I voice, vs. creating a written script. This simplified, efficient, and highly effective alternative approach, leads to a more "organic" end-result that sounds much more natural to the audience— like a friend watching next to you on the couch, as a story unfolds.  The usual process for creating Described Video involves someone creating a written script (a list if descriptions with associated timecodes) as they view a project. Then someone else — who is often seeing the visual content for the first time; and worse, only what appears to them "cue to cue", as they jump from each timecode to the next — reads the descriptions; but without context. This can result in a "tone disconnect" that proves distracting, and unpleasant, to viewers.


  • Complementary tone is key — not only depending on the project type overall (e.g. comedy vs. drama, documentary vs. game show, etc.) but also within each project where, say, an intimate moment may call for softer tone than an argument between the same characters later on.


  • Once a project is fully described, it is thoroughly re-listened-to before being submitted for final mixing and insertion. This important quality-control step not only ensures consistency and accuracy in all descriptions, but also provides an opportunity for improvements wherever they might be beneficial. (e.g. "Fine tuning" early descriptions in a project, where the appropriate flow and tone may only have been fully discovered and established as work progressed later into the piece.)


My Priorities



My #1 goal is to do my best to give every vision-impaired audience member (the fully blind, and the partially sighted; including our ever-expanding ageing population) the closest experience possible to that which was intended by the creators of the story. Not because that's what's being increasingly mandated by regulators, but because that's simply what everyone should have access to. 



As important as it is to provide the visually impaired with a good experience, it's also important to not compromise the enjoyment of any sighted viewers who may also be watching with them. When I've created a listening experience as comparable as possible to those offered by great radio shows, and podcasts —which can be equally enjoyed by all — I'm satisfied I've done the best I can.



I also strive to ensure my work disrupts the story's flow as little as possible, and complements it as much as possible — with my tone of voice, choice of words, and decisions about when, and where, to insert description. (Sometimes none is better!) This is out of a genuine respect for the incredibly hard work that every producer, creative, and technician puts into getting every story in front of an audience in the first place.



I want to help make your life better too! Sure, by getting the job done on-time, on-budget, hassle-free, and really, really, well. But I also want every exchange you have with me to be one of the best parts of your day.

  • Maintaining a single voice for an entire TV series — or at least for each season — creates a consistent experience for viewers. Especially in today's "binge- watching" environment. It also provides the Describer with specific overall knowledge and insights about things, like recurring story arcs and characters, that other Describers new to a series may lack. (e.g. A key villain who debuts in Episode 1, then reappears in an Episode 9 cliffhanger, might be described by a new Describer simply as "an old evil-looking woman", while fans/regular viewers — and the original Describer — will have already recognized her, and know her character name.) Full-series 'contracts' make things easier for you too, by guaranteeing my full-season availability via advance (priority!) scheduling. 


  • For pre-release content especially, including scripts with video files, whenever possible, can be extremely helpful. Scripts can provide highly valuable information for Describers: e.g. sluglines for verifying times and locations; character names accompanying dialogue blocks (sometimes initially hard to hear correctly on the audio accompanying the visuals); action blocks, for things like additional subtext or intent (especially valuable for highlighting something that may be an important story element later on), etc. 

  • I've been writing and talking professionally for decades in order to convey ideas clearly to, and for, all kinds of people. I have an insatiable and wide-ranging curiosity that's ultimately built me a very large frame of reference. As a result, I know a little something about a lot of things. That lets me know the right terminology for a lot of different stuff. (And if you don't think that matters, ask your average arts major to identify a gyroscope. ;-) I also know — and love — words and language, and so know which words work best for different audiences. It really does make a difference.

  • This isn't 'just a gig' for me; it's a passion. It feels great to be able to help ensure that an audience that needs a little help, gets the best help possible!


(Making it Even Butter. Oops... BETTER!)

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