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[LTA intro music]

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LiveTextAccess.

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Training for real-time
intralingual subtitlers.

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This is Unit 1.
Understanding accessibility.

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Element 3. Embedding accessibility
in working environments.

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In this video lecture,
we show the first part

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of a testimonial by D’Arcy McPherson,

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a real-time intralingual subtitler
from Canada.

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He will talk about real-time subtitles
in the TV context.

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You can also watch the interview
on the same topic

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made with Evan Dorrestein.

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My name is Piero Cavallo

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from the Internationale Hochschule
SDI München, in Germany.

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I have prepared this video lecture

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in collaboration with Rocío Bernabé Caro,
also from SDI München,

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and the European Federation
of Hard of Hearing, in short, EFHOH.

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On completion of the training sequence,

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you will be able to advise customers
about how to best set up

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an accessible real-time
working environment

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for persons with hearing loss

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in the trained working contexts
and settings.

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To achieve that,

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we will show testimonials
and interviews of professionals.

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The agenda is very short.

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First, I am going to introduce
our invited speaker, D’Arcy McPherson.

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Then, I will illustrate
the topics of the interview.

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Finally, this video lecture ends
with a summary.

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Please note, that this is the first part
of the lecture.

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First of all,
let me introduce you D’Arcy McPherson.

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D’Arcy McPherson is a broadcast captioner
and court reporter from Canada.

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During his career,
he also worked in other countries.

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He is now the director
of Hansard Services,

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at the Legislative Assembly
of British Columbia, in Canada.

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He uses a stenotype machine
to provide real-time subtitles.

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Let me give you some information

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before watching
the first part of the video.

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In this first part of the video,

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D’Arcy answered some questions
that we sent to him before

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using a webcam.

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He talks about how to best set up

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in order to provide accessibility
with real-time subtitles in live TV,

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or broadcast captioning, as he calls it.

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First, he introduces the equipment
that he uses,

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with a focus

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on how artificial intelligence is helping
to provide a better service.

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He also highlights the importance
of having a good study background

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and the differences between subtitling
different TV programs.

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Finally, D’Arcy addresses
to the importance of having

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a first period of internship.

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Ok, let’s watch the video now!

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Hello. My name is D'Arcy McPherson

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and I am a speech capturer.

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I use capture speech
in broadcast captioning

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by using this little machine here.

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I was trained as a court reporter

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and took that training, and I’ve done
different things in different ways with it.

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work in different locations,

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both in Canada, where I live,
and abroad.

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I've been very lucky with that

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and I was asked to speak to you today
a little bit about broadcast captioning.

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And what I need to do
in order to do my job,

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I’ve already shown you the machine,
but I’ll go through a few other things.

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I’ll talk about the skills,
the equipment that I use,

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as well as some
additional considerations,

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including consumer needs
and expectations,

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as well as the future prospects

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and what I believe
the career is looking like

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in coming years.

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So, to begin:

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the method of operating is
with a stenographic theory,

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which is based on phonetics
and syllable content,

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and the aim is to...

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produce captions at a high rate of speed
and a high level of accuracy.

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That does take a lot of years
of practice, and study, and application.

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It does require a solid
shorthand dictionary without conflicts

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that you use prefixes and suffixes

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and, again, a software program
where you build your dictionary,

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so that when you type a stroke
on the machine,

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it coordinates with the database
in the dictionary

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and puts out the correct word,
or phrase or syllable.

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There are also other aspects
to the software which are really helpful.

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We didn't used to have those,

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but there are certainly features
that are welcome and appreciated now,

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such as: phonetic spellings.

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You can design the application
to mirror your theory,

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so that, if it comes across a stroke
that's not in your dictionary,

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it will use artificial intelligence
to give it a good guess.

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And while it's not always right,
it often is,

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That's very helpful.
It's always good to have tools that work.

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As a stenographer and a speech capturer

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it's very important
to be able to reflect the spoken word

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in a readable way.

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That means
you have to have a solid foundation,

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a good grounding
in grammar and punctuation,

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so that, as someone is speaking,
you're able to punctuate them

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so that it comes up
on the screen correctly,

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and that you have a good understanding

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of what they're trying to say
grammatically,

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so that it can also be conveyed

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and you can make minor tweaks
along the way.

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So, that's helpful.

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One of the things
that differentiates a stenographer

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from, say, artificial intelligence,

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at least at this point, is that
we can input speakers’ names,

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so that, when you have
multiple speakers,

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you can show the difference between,

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say, the reporter, the reporter's name

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in a news broadcast,

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or an announcer's name

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or whoever's speaking,
you can input that,

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so that the reader has more information

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to be able to better understand
what they're watching,

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which is the goal.

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We have specific speaker identifiers.

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We also have environmental sounds
that we reflect,

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because someone who's Hard of Hearing,

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or who may not have
the sound on the television on,

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will need to understand
if a phone is ringing.

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If someone who is hearing can hear it,
then someone who's not hearing

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should understand what's going
on those environmental sounds.

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That can include things like music,

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as an intro to a segment or laughter,

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so that they know that it's a joke

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if it's not always clear
with the words that are being put up.

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Also, to indicate there's silence,
that there's nothing going on,

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so they're aware of that

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and they're not thinking
there's a problem with the captioning.

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If a phone rings or a dog barks,
if there's a siren,

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thunder,
or if a different language is spoken,

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you have to indicate that as well.

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If you know what the language is,
that's great,

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because that's additional information.

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But if all you know is that it's...

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a language other than the one
that you're committed to writing,

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then you have to indicate that.
Usually, you would say something like:

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[another language spoken],
or [foreign language spoken].

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Those are the basic foundational aspects,
in terms of skills.

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When it comes to equipment,

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I've shown you the machine,
and I use a small computer

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that connects to that a laptop

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I have excellent network
and satellite and cable capability,

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because you want to be able to rely
on your tools,

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and the last thing
you want is to have...

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something go out or something go wrong

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when you're 2 minutes away
from going on air.

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That's not ideal and causes stress.
And you want to avoid stress.

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I have an ergonomic chair
and a good desk.

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The machine that I have has
an adjustable tripod,

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so I can make it go forward or back,
or up or down,

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That makes my life a lot easier

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and I have less stress and strain
at the end of the day, which is which.

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I have noise-canceling headphones
that I use, which are wonderful,

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especially if you live in a household,
where there may be

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other noise from people
that you live with.

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I have multiple screens,

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on some screens, if it's a sporting
event that I'm captioning,

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and there are teams,
I have the rosters there.

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If I have to research for a specific
program, I’ll have a vocabulary list

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that's available to me,

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and I don't have to go wrestling
through papers to look for it.

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For my work, I do broadcast captioning

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as an adjunct
to another role that I play,

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which I will talk about
in another video.

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For me, most of the work that I do
is in the evenings, or on the weekends,

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in addition to my day job,

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That's a little bit of background there.

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Other considerations
for a lot of people who do

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closed captioning:

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they also do one-on-one work
with people who are Hard of Hearing.

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But even if you don’t work one-on-one
with people who are Hard of Hearing,

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it's still important to have
an understanding that the prime target

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for broadcast captioning,

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real time closed captioning,

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are people who have
hearing loss of some nature.

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It's not exclusive to that,

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but that's the primary consideration,

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especially, when you're talking
about accommodation and accessibility.

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It's helpful for...

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people who are providing that service
to have some sensitivity training,

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so that you're aware of that audience
and the needs of that audience.

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that's not always
something that's addressed,

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but local associations can provide
training like that.

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And I think it's really useful

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and puts everything in context
for the work that you're doing.

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Some people also have
basic sign language,

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or more advanced sign language,

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especially if you're working
one-to-one with people.

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 That's a very important thing

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just to be able to get
that ball started.

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Not all people
who are Hard of Hearing...

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are from the culturally Deaf community.

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They may not know sign language, but
it's nice to be able to, at least, start.

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And it indicates that you have a--

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you've put some thought and effort
into how to communicate

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with people who may be Hard of Hearing.

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As a broadcast captioner,
I work through a company.

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They assign me work

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and have a certain standard
of codes of ethics

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and captioning protocols,

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ways that they like to see
their captions that they're providing

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for their clients on the screen.

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That's an important factor
for captions to be aware of:

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that not all networks are the same
and not all contacts are the same.

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For instance,
if I'm doing a basketball game,

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they like to have their captions
on the top of the screen with two lines.

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If I'm doing a news program,
they like it slightly above the bottom,

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so that they can have
their graphics come through,

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and usually, it's in two or three lines,
depending on their preference.

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Sometimes there'll be graphics
on the left-hand side of the screen

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and you can shift your captions
through your machine

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to the right side to make sure
that things are a little clearer

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for the viewer,

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so they can have that same information,
those graphics, available to them.

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It's important to understand
the jurisdiction, or firm,

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that you're working in

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and communicate
with others in the field,

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to get a good sense
of what's expected of you.

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As you're starting out,

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most schools will encourage you

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and, in fact, it would be
part of the curriculum

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to have a period of internship,
or shadowing,

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with a reporter who's...

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already doing the job
and has been doing it for a while,

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so that you can ask questions
on the fly.

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The summary.

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To briefly sum up,

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we can say that in order to work

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as a real-time subtitler
in live television,

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it is very important to have
a strong theoretical background,

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both on linguistic aspects

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and the end users for whom subtitles
represent an access service.

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Then, we have seen that the development
of artificial intelligence

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in the last years
can really help to improve your service.

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Of course, the subtitler needs
to always monitor the situation.

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Moreover, we have seen
that not all TV programs are the same,

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and because of that,

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the subtitles provided will differ
from program to program.

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The subtitler should be aware of that.

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Finally,

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D’Arcy addresses to the importance
of having a first period of internship.

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This is suggested to put into practice

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what you learned
and to improve your skills

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with the help of a mentor
or experts in the field.

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Exercises.

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00:14:38,205 --> 00:14:42,642
The exercises for this video lecture are
in the Trainer’s Guide

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00:14:42,943 --> 00:14:45,596
and the PowerPoint file of part 2.

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00:14:46,096 --> 00:14:52,096
[LTA outro music]

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LTA - LiveTextAccess.

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00:14:59,807 --> 00:15:02,392
Universitat Autònoma de Barcelona.

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00:15:03,400 --> 00:15:06,525
SDI - Internationale Hochschule.

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00:15:07,627 --> 00:15:11,197
Scuola Superiore
per Mediatori Linguistici.

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00:15:12,385 --> 00:15:13,978
2DFDigital.

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00:15:15,096 --> 00:15:18,353
The European Federation
of Hard of Hearing People - EFHOH.

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00:15:19,494 --> 00:15:20,533
VELOTYPE.

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00:15:21,439 --> 00:15:22,760
SUB-TI ACCESS.

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00:15:23,955 --> 00:15:28,838
European Certification
and Qualification Association - ECQA.

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00:15:32,338 --> 00:15:36,228
Co-funded by the Erasmus+ Programme
of the European Union.

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00:15:38,213 --> 00:15:39,752
Erasmus+ Project:

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00:15:40,650 --> 00:15:52,182
2018-1-DE01-KA203-004218.

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00:15:53,533 --> 00:15:56,869
The information and views set
on this presentation

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00:15:57,228 --> 00:15:58,908
are those of the authors

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00:15:59,209 --> 00:16:02,713
and do not necessarily reflect
the official opinion

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00:16:03,057 --> 00:16:04,447
of the European Union.

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00:16:05,502 --> 00:16:09,088
Neither the European Union
institutions and bodies

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00:16:09,627 --> 00:16:12,392
nor any person acting on their behalf

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00:16:12,853 --> 00:16:15,541
may be held responsible for the use

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00:16:15,924 --> 00:16:19,299
which may be made
of the information contained here.