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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
a testimonial by Enrico Pigliacampo,

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a real-time intralingual subtitler
from Italy.

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Enrico is the lecturer
in the video lectures from Unit 3.

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He will talk about the role
of real-time subtitles

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in cultural events.

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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

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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 will illustrate
the topics of the testimonial,

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before showing it.

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Finally, we will end this video lecture
with a summary.

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First of all, let me give you
some information

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before watching the video.

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In the video,

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Enrico answered some questions
about how a real-time subtitler

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provides accessibility
in cultural events.

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In particular,

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he discusses about the equipment
and the preparation

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that a real-time subtitler should have
when working in this context.

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Then, he highlights the differences
between working on-site and online.

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Finally, Enrico shared his suggestions
for future professionals.

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Ok, let’s watch the video now!

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Hi. My name is Enrico Pigliacampo.

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I am an Italian man
with a beard and short hair.

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I work for Sub-Ti Access,

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an accessibility service provider
based in Italy,

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and I mainly work for cultural events.

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Beyond the tools
every real-time subtitler need,

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and we talk about it in Unit 3,

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there are two things that are important

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to improve the quality of the service
in cultural events:

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to have the script
and to have time to test the tools.

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Many cultural events follow a script,

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or at least some parts
of the event follow the script.

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If there is a script, it is important
that the subtitler has the script

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before the event, for two reasons.

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First, the subtitler can examine
the script

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to have an idea
of what the speakers will talk about

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and prepare themselves for the event:

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the names that will be mentioned,
possible difficult words, and so on.

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Secondly, the subtitler can create
semi-live subtitles

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which will be synchronised
to the speech live.

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This will help the subtitler in the parts
of the event that follow the script.

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You always have to remember
that speakers can change their speech

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at the last moment, or improvise.

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So it is important

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that the subtitler is always ready
to change from semi-live subtitles

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to real-time subtitles
quickly when needed.

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It is also important that the subtitler
have the time to test the tools,

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in order to be sure
that everything is working,

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and the subtitles are readable
and their quality is good enough.

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If there is a rehearsal
before the event starts,

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it would be best
if the subtitler is involved,

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so that you can have an idea
of the whole event, subtitles included,

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and you can improve quality, if you can.

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Cultural events are usually
complex events with many participants,

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both onstage and in the backstage:

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light technicians,
sound thecnicians, and so on.

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When you’re in the location
of the event,

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 it is easier to have a view
on eveything that goes on.

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It is also easier to communicate
with other people who work for the event

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if an issue comes up.

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If you work remotely,

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you have to be sure
to have a good view of the event

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and of everything that goes on.

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You also need to have
a contact person on location

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with whom you can communicate

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and ask for help,
if any issue comes up during the event.

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My recommendation for new professionals
who will work for cultural events

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is to always establish
a good communication with the client

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and always ask for all the materials
they can give you.

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The script, press materials,
leaflets, and so on.

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It will help you preparing for the event
and improve the quality of the service.

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If you work mostly for events
in a specific field,

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it is important to stay updated
on what goes in that field,

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so that you will know
what the speakers will talk about.

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The summary.

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To briefly sum up,

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we can say that,
when working as a real-time subtitler

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in cultural events,

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it is important to prepare yourself
prior the event.

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Asking for the script
and all the material

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can speed up your work.

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Both when working on-site and remotely,

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it is important to have
a good view of the event.

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Finally, a good communication

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with the client is the best way
to start your job.

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Exercises.

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The exercises for this video lecture are
in the Trainer’s Guide

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and the PowerPoint file.

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[LTA outro music]

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LTA - LiveTextAccess.

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Universitat Autònoma de Barcelona.

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SDI - Internationale Hochschule.

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Scuola Superiore
per Mediatori Linguistici.

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2DFDigital.

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The European Federation
of Hard of Hearing People - EFHOH.

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VELOTYPE.

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SUB-TI ACCESS.

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European Certification
and Qualification Association - ECQA.

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Co-funded by the Erasmus+ Programme
of the European Union.

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Erasmus+ Project:

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2018-1-DE01-KA203-004218.

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The information and views set
on this presentation

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are those of the authors

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and do not necessarily reflect
the official opinion

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of the European Union.

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Neither the European Union
institutions and bodies

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nor any person acting on their behalf

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may be held responsible for the use

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which may be made
of the information contained here.