Welcome to EcoFrames Environmental Film Festival! We’re excited to help you share your story with everyone – including viewers who are blind, low-vision, deaf, or hard-of-hearing. This friendly guide explains how you, as a filmmaker, can collaborate with our accessibility team to create high-quality audio descriptions and SDH (subtitles for the deaf and hard-of-hearing) for your film. By working together, we’ll ensure your film’s message shines through for all audiences. 

Understanding Audio Description and SDH

Audio Description (AD) is an extra narration track that describes key visual elements of a film – things like actions, settings, facial expressions, and on-screen text – so that blind or visually impaired viewers can follow the story (Audio description - Wikipedia). The descriptions are carefully placed during natural pauses in dialogue or critical sounds (sometimes overlapping briefly if needed) to fill in what a viewer cannot see. For example, an audio describer might say, “Marina tiptoes through the muddy forest, clutching a glowing lantern to her chest,” allowing visually impaired viewers to picture the scene.

Subtitles for the Deaf and Hard-of-Hearing (SDH) are a form of closed captions designed for viewers who cannot hear the audio. Unlike standard subtitles (which usually only show spoken dialogue), SDH include additional information like sound effects, music cues, and speaker identification. They were created to assist deaf and hard-of-hearing individuals in understanding all audio components of a film (Closed captioning - Wikipedia). For example, an SDH subtitle might read:

[Wind howling]
ALICE: (whispering) This is our secret.

This way, viewers know how a line is spoken and hear the environment through text.

Why do these matter? Not only do AD and SDH make your film accessible to more people, they also enhance the viewing experience for anyone who might be watching in a noisy environment or without sound. In short, AD and SDH ensure your storytelling reaches the widest possible audience – which is something we care deeply about at EcoFrames!

What Makes a Good Audio Description?

A great audio description track feels like a natural part of your film. Here are key qualities of effective AD:

• Clarity & Relevance: It focuses on important visual details that impact the story or mood. The describer won’t describe every leaf on a tree – only what viewers need to know (e.g., a character’s gesture, a clue on a sign, a sudden action). This keeps the narration clear and meaningful.
• Conciseness: Descriptions are short and succinct, fitting into pauses. A good AD uses simple, vivid language to spark imagination quickly. For instance, instead of “She has a look suggesting some emotion on her face,” a concise AD says “She smiles warmly, eyes shining with relief.”
• Objectivity (mostly): AD should describe, not interpret. It usually avoids guessing characters’ unspoken thoughts or motivations. For example, “Tears roll down his cheeks” is better than “He feels sad,” which might state an interpretation. However, if a visual symbol or context clearly means something (and you’ve informed us – more on symbolism soon!), the narration can hint at that meaning in a way that aligns with your intent.
• Timing with Audio: Good AD flows with the film’s rhythm. The narration comes during pauses or quiet moments so it doesn’t talk over dialogue or important sounds. It might gently overlap a bit of dialogue only if absolutely necessary for clarity. The goal is that viewers listening to AD get the information seamlessly, almost as if it were originally part of the film.
• Tone and Language: The style of the description matches your film’s tone. If your film is a light-hearted nature documentary, the AD might be warm and enthusiastic. For a tense thriller, the AD voice might use more urgent, suspenseful language. Always, it remains engaging but unobtrusive, supporting the storytelling rather than distracting from it.

Example – Audio Description in Action: Imagine a silent scene where a child finds a lost wolf pup in the woods at night. A poor description would be too vague or wordy, like: “It’s dark and the child is there and finds something.” A good audio description might be: “In the pale moonlight, a young girl kneels by a shivering wolf pup, wrapping it gently in her coat.” In one sentence, the listener learns it’s night, sees the child’s compassionate action, and understands the mood. The description paints a picture, evokes emotion, and fits in a brief pause – enhancing the scene for someone who can’t see it.

What Makes Good SDH (Subtitles for the Deaf and Hard-of-Hearing)?

Effective SDH subtitles ensure that a viewer who can’t hear the audio gets all the important information through text. Key features include:

• All Key Sounds Described: Besides dialogue, SDH captions include significant sound effects and music. These are usually written in brackets or italic text. For example: [Thunder rumbling], [Soft piano music playing], or [Birds chirping loudly]. This tells the viewer about the atmosphere and sudden noises or silence that are important to the story.
• Speaker Identification: When it’s not obvious who’s speaking (like off-screen dialogue or multiple people talking), good SDH captions identify the speaker. This can be done by adding the name (e.g., JOHN: before the line) or using different text colors or positioning. For instance:

  MIA: I can’t believe it...
  JULIE: (shouting) Watch out!

  Now the viewer knows who says each line and how (whispering, shouting, etc.).
• Tone and Manner of Speech: SDH can convey how dialogue is delivered. Emotions or speech manner might be noted with adverbs or descriptions in parentheses or italics: “(angrily)”, “(whispering)”, “(sarcastic)”. This way, the viewer understands the intent behind the words. For example: SARAH: (sarcastic) Oh, great, that’s just perfect.
• Consistency & Timing: Good subtitles appear in sync with the audio, just as regular subtitles do. They are easy to read, staying on screen long enough but not too long. They also follow standard captioning conventions (like two lines max at a time, appropriate line breaks). Consistency in how sounds are described (e.g., always using brackets for sounds) helps viewers scan and comprehend quickly.
• Accuracy & Completeness: Every spoken line is captured (unless intentionally omitted for a reason), and every critical sound is noted. If a line of dialogue is inaudible or in another language, SDH will indicate that (e.g., [Speaking French] or [Indistinct chatter]). The goal is that a deaf viewer isn’t left wondering about something they might be missing.

Example – SDH in Action: In a documentary scene, suppose we see a volcano erupting with dramatic music, and an off-screen narrator speaks. The SDH might look like:

[Narrator:]: The volcano awakens after centuries.
[Low ominous music builds]
BOOM [Explosion echoes]
NARRATOR: (voice trembling) This was the moment we feared.

Here, the viewer reads the narration and also experiences the eruption through the captions: the music, the sudden “BOOM” with an onomatopoeic effect, and even the narrator’s trembling tone. A well-crafted SDH subtitle set transmits the full richness of the audio.

How You Can Help: Collaboration Between Filmmaker and Accessibility Team

You know your film better than anyone – its themes, its subtle clues, its emotional beats. By sharing your insights with our audio describers and captioning technicians, you empower them to create descriptions and subtitles that stay true to your vision. Here’s how you can help:

1. Share Symbolism and Visual Significance

   Symbolism is when something visible (an object, color, gesture, etc.) represents a deeper meaning or theme. Filmmakers often use visual symbols or motifs to enrich the story – for example, showing a red rose every time a character remembers love, or using shadow lighting to represent uncertainty. These touches are powerful, but a blind viewer might miss them without a hint from audio description.

   • Explain Your Visual Metaphors: Let us know if certain visuals carry special meaning. Is the recurring rainstorm in your film a symbol of renewal? Does the color green in a scene reflect hope or nature’s presence? By understanding this, the describer can choose language that captures the intent. They might describe it straightforwardly (e.g., “A green light suffuses the room”) and, if appropriate, add a subtle hint of its significance as the story unfolds.
   • Identify “Must-See” Details: If there’s a blink-and-you-miss-it detail that’s crucial (like a plot twist revealed in a photograph on a table, or a character’s hand gesture signaling agreement), flag it for us. We’ll ensure the AD script includes it at the right moment. For instance, if a documentary shows a quick on-screen statistic or a map, we’ll describe that so visually impaired viewers get the same info.
   • What Not to Describe: On the flip side, if some visual elements are purely decorative or not important to the narrative, you can tell us that too. This helps us focus the audio description on what matters most. (Don’t worry – our team will still exercise judgment and follow best practices, but your insight guides us!)

   Why this matters: When the audio describer knows the meaning behind a visual, they can weave that meaning into the description without being too heavy-handed. For example, if a filmmaker says “The shattered mirror represents the character’s fractured identity,” the describer might say, “He stares at his shattered reflection in the mirror,” emphasizing shattered to hint at the symbolism. It’s a subtle collaboration that makes the experience deeper for the audience.

2. Highlight Important Sounds

   Sound is half the experience of a film. As the creator, you know which sounds in your movie are crucial storytelling elements versus those that are background ambiance. To make sure the SDH subtitles capture the right sounds (and the audio description doesn’t talk over them), please:

   • List Key Sound Effects: Go through your film and note any sound effects that carry the story. Does a creaking floorboard alert a character to someone’s presence? Is there a specific bird call that signals a location or triggers a memory? Those should definitely be noted in the SDH (e.g., [Floorboard creaks]) and, if very important, perhaps even referenced in AD. For instance, if a distant wolf howl is a recurring audio motif in your environmental film, let us know it’s significant – we’ll ensure the subtitle might say [Wolf howls in distance – the same sound from earlier] to remind viewers, if appropriate.
   • Differentiate Background Noise vs. Narrative Sound: Some sounds are just part of the environment (wind, crowd chatter, etc.), while others are intentionally emphasized. You can help by indicating which background noises are meant to be noticed. For example, if there’s chatter in a scene but one voice on a radio is actually giving a clue, we’ll capture that ([Indistinct chatter, radio announcer speaking softly]). If an engine hum is just background, we might not subtitle it unless it sets a mood.
   • Indicate Emotional Music Cues: If your film’s score has particular moments that signal emotion (a triumphant swell, a sudden silence, a reprise of a theme linked to a character), point those out. Our captioners can then describe the music in a way that reflects its role (e.g., [Triumphant music crescendos] or [Pensive guitar melody returns]). This gives deaf viewers insight into how the music is contributing to the story’s emotion.

   By highlighting these sounds, you ensure that the subtitles aren’t cluttered with every rustle or tweet, but do include the sounds that a viewer needs for full understanding. Plus, our audio describers will know when not to speak because a critical sound is happening that all viewers should focus on.

3. Provide a Scene-by-Scene Breakdown

   One of the most helpful things you can do is prepare a scene-by-scene list of important visuals and sounds, along with their narrative purpose. Think of it as a cheat-sheet for our accessibility team. It doesn’t have to be fancy – even bullet points or a table is fine. Here’s how to create one:

   1. Break down your film into scenes or sequences. Use whatever labels make sense – scene numbers, short descriptions (“Opening in rainforest,” “Climactic protest scene,” etc.).
   2. For each scene, list key Visual Elements. Ask yourself: If I were listening to this scene without video, what visual detail would I absolutely need to know to get it? Write those down. Include things like actions (“Sarah sneaks in from a side door behind the speaker”), settings (“A banner on the wall reads ‘Clean Water = Life’”), character appearances or gestures (“John’s hands are visibly shaking during the speech”), and any symbolic elements or on-screen text.
   3. List key Sounds or Audio Elements. Note important dialogue (especially if people talk over each other, what’s important?), sound effects, and music cues. For example, “Loud explosion (character is startled)”, “Old love song plays on radio (their special song)”, “Volcano rumble grows louder in background”.
   4. State the Narrative Purpose. Next to each item, briefly mention why it matters. Does it foreshadow something, reveal a character trait, set a mood? E.g., “(Foreshadows the reunion of the lovers)”, “(Indicates the protest’s message)”, “(Creates suspense)”. This helps the describers know what to emphasize or how to phrase it, and helps captioners decide how to frame the sound in text.

   Example (Scene Breakdown Snippet):

   Scene 5: Mountain Campsite at Night

   • Visuals: A wolf with a distinctive scar approaches the sleeping campers. (Important – this is the same wolf from Scene 1, symbolizing nature’s watchful presence.) The campfire is dying out, casting flickering shadows. (Mood – loneliness and fading hope.)
   • Sounds: Soft snoring from one camper. Distant wolf howl. Cracking twig sound when wolf steps on it. (Important – twig snap wakes the vigilant camper, a turning point.) A gentle melody plays on a harmonica from another camper, unaware of the wolf. (Mood – false sense of security.)
   • Narrative Purpose: Builds tension by showing the wolf close by (viewers should feel both wonder and fear). The twig snap is a cue for conflict to start. The harmonica music juxtaposes calm and danger.

   Such a breakdown equips the accessibility team to write descriptions and subtitles that hit all the vital points. It’s like giving them the inside scoop, so they don’t miss what you consider essential. And don’t worry – we’ll handle turning these notes into elegant AD and captions; you don’t have to write the narration yourself (unless you want to!).

A Quick Guide to Symbolism (and Why It’s Helpful to Explain It)

In film, symbolism means using a person, place, thing, or even a sound to represent something beyond its literal meaning. It’s a powerful storytelling tool, especially in artistic or environmental films where a single image can speak volumes. Here’s how you can help us handle symbolism in accessibility:

• Explain the Symbol Clearly: If your film uses a symbol (like a recurring animal, a color tone, or a piece of music that stands for a larger idea), tell us what it means to you. For instance, “The recurrent image of a seed growing represents hope and regeneration.” Armed with this knowledge, an audio describer can make sure to describe the seed in a consistent way each time, subtly reinforcing its presence. They might not say “it represents hope” outright (to avoid being too on-the-nose), but they’ll know to give it attention every time it appears.
• Frequency and Emphasis: Let us know if a symbolic element appears multiple times and if it should be emphasized each time or only at key moments. For example, if a lone eagle appears in three different scenes as a sign of freedom, the describer will mention it each time (“An eagle circles high above, alone in the sky…”). Meanwhile, the captioner will ensure the eagle’s screech is noted if it’s heard. If one of those times is the crucial moment where the symbol pays off, we might choose slightly more descriptive language at that point (e.g., “The same lone eagle soars overhead once more, majestic and free”).
• Abstract Symbolism: Sometimes symbols are abstract – like a changing color palette or lighting style to indicate shifting moods. These can be hard to convey, but if we know about them, we can try. An AD might say, “The room’s lighting shifts to a cold blue” to reflect a mood change, or captions might note [Music becomes upbeat] when a hopeful theme color isn’t literally describable but the music does the job. By understanding the intent, we ensure the audience senses that change.
• Avoiding Misinterpretation: If there’s a risk that a describer or captioner might misidentify something (e.g., a prop that looks like just a random object but is actually very significant), clarifying symbolism prevents mistakes. Maybe there’s a tree in your film that represents family. To most viewers it’s just a tree, but you want it given a little extra weight in description – say so, and we can reflect that, perhaps calling it “the old oak tree by the farmhouse (the one from the earlier family photo)” in the description the second time it appears, jogging the listener’s memory.

Remember: audio describers typically don’t interpret or explain symbolism outright, but they do make sure the elements that carry symbolic weight are noted. Your guidance ensures that nothing gets lost. It’s all about showing through sound what you are showing through visuals.

Technical Materials to Provide (Your Accessibility Toolkit)

To create top-notch AD and SDH, our team benefits enormously from having the right technical materials from you. When you submit to EcoFrames, we kindly request you also provide:

• Isolated Sound Effects Track (SFX Only): This is your film’s audio with just the sound effects and ambient noises, no dialogue or music. Why? It allows our captioners to hear every rustle, crash, and whisper clearly without voices over them. We can then pick out the important sounds for the SDH subtitles with confidence. For instance, a subtle heartbeat sound or a background announcement that might be hard to catch in the full mix can be heard easily in the SFX track, ensuring we don’t miss it. (If you don’t have a fully mixed SFX-only track, even providing the stem audio files where we can isolate effects is helpful.)
• Isolated Music Track (Music Only): Providing the music soundtrack alone helps in a few ways. Our team can catch lyrics in songs (important for subtitles – lyrics are usually included verbatim or summarized). We can identify the exact moments music changes or significant motifs return, which we’ll note in captions (e.g., knowing the “main theme” vs. incidental music). For audio description, understanding the music’s mood lets us tone-match the narration. If a scene has no dialogue, just music and visuals, the describer will time their voice around the music’s swells – having the music track guides those choices.
• Dialogue-Only Track (Dialogue stem): This is all the spoken dialogue (and narration, if any) without music or effects. It’s incredibly useful for both AD and SDH:
  • For SDH, we ensure every word is correctly transcribed. Sometimes closed captions are made from scripts, but actors may ad-lib or deliver lines differently – the dialogue track lets us double-check exact wording, names, and intonations.
  • For AD, the describer uses the dialogue track to know when to speak and when to be silent. They plan descriptions to fit between lines. If we know a character pauses for 3 seconds, that’s a window for description. The dialogue track also helps identify speaker changes for captions.
• Script or Scene List: If you have a screenplay, transcript, or even a shooting script with notes, send it along. It complements the scene-by-scene breakdown you create. The script can help our team spot intended emphasis (e.g., things in ALL CAPS in scripts often denote important sounds or visuals). It’s also a safety net to ensure no line of dialogue or important action is overlooked.
• Any Existing Narration or Voiceover: Some environmental films or docs have their own voiceover narration. If yours does, let us know if that narration already covers some descriptive info (many docs narrate what’s on screen to some extent). We will then tailor the AD to fill the gaps and not be redundant. If your narrator says, “This is the story of a river’s journey,” and the screen shows the river flowing through landscapes, the AD might skip stating the obvious and focus on the visuals the narration doesn’t mention.

Note: All these materials help us but we handle them with care and confidentiality. They’re used solely to create accessibility assets for your film’s screening.

Inspiring Examples of Collaboration in Accessibility

To illustrate how powerful the partnership between filmmakers and accessibility specialists can be, here are a couple of inspiring examples:

Example 1: The Symbolic Short Film

An EcoFrames entrant submitted a silent short film about urban nature, in which a caged bird was a recurring symbol of environmental harm and freedom. The director provided notes explaining this symbolism and pointed out each scene where the bird appeared or chirped. Working with these insights, our audio describer crafted descriptions that highlighted the bird’s presence in a meaningful way: “A sparrow flutters inside a small cage by the window, its wings rattling the bars,” and later, “The cage door swings open, and the sparrow soars into the cloudy sky.” Meanwhile, the SDH captions noted the bird’s trilled song whenever it was part of the soundscape. Blind viewers later shared that they felt the emotional impact of the final scene because the audio description had built up the importance of that bird throughout – a direct result of the filmmaker’s input. The director was thrilled that even without seeing it, audiences “got” the symbol and its emotional payoff.

Example 2: The Documentary with a Heartbeat

In a nature documentary about climate change, there was a powerful sequence with no narration or dialogue – just images of melting glaciers accompanied by a heartbeat-like drum sound in the score, meant to symbolize the Earth’s heartbeat. The sound was subtle, and the filmmakers were worried that deaf viewers might not realize it was intended to be heartbeat-like. They provided an isolated music track and pointed out this creative choice. Our captioning team then wrote a caption that went beyond a simple [Music playing]. Instead, during that sequence, captions read: [Slow, heartbeat-like drum] at intervals. Additionally, when preparing the audio description, we knew not to speak over that drum sound because it was artistically significant. In the screening, deaf audience members later said they could feel the urgency and emotion of that moment, and blind audience members enjoyed an audio description that respected the impactful silence between the beats. The collaborative effort ensured the film’s message hit home for everyone.

Example 3: The Narrative Feature “Quiet Love”

This fictional drama had a scene where two estranged characters cook a meal together with no dialogue, using only gestures and careful movements to show their growing bond. The director detailed the importance of specific actions (like one character gently wiping a smudge of flour off the other’s face, which was a turning point in their relationship). Our describer, armed with this knowledge, described the scene in a heartfelt, poetic manner: “James reaches out slowly and brushes a bit of flour from Aiko’s cheek; she meets his gaze and smiles softly.” In the SDH, we included key sound descriptions: [Knife chopping rhythmically] [Sizzling sound grows quieter] to note how their activity calmed down as the moment of connection happened. The result? Viewers who used AD or SDH felt the same emotional beat as viewers watching the visuals – many reported being moved to tears. The filmmaker later said that reading the AD script was like reading a novelization of his scene that captured exactly what he intended. He hadn’t realized how helpful his notes could be until he saw (and heard) the outcome.

Final Tips and Encouragement

Creating an accessible version of your film is a creative extension of the filmmaking process. It might seem new or unfamiliar, but think of it as another layer of storytelling – one that invites a whole new audience into your world. Here are a few parting tips to keep in mind:

• Start Early: If possible, consider accessibility from the post-production stage. Set aside time to prepare the materials (audio stems, breakdowns) so it’s not a rush at the end. Some filmmakers even write AD or captions into their planning, almost like another script – you don’t have to go that far, but early awareness helps.
• Ask Questions: Not sure how to label something, or whether to include a detail in your notes? Our EcoFrames accessibility team is here to help. Feel free to reach out while preparing your submission. We’re happy to give pointers or clarify what we need.
• Review the AD/SDH (if you want): We can send you drafts of the audio description script or captions. Many directors love to take a peek. You might catch a term you’d prefer to change (maybe you want the tree described as an “oak” rather than just a “tree”), or you might simply feel reassured hearing how your vision is translated. It’s your call – we offer this to ensure you’re comfortable with the result.
• Think of the Audience: Ultimately, accessibility is about the audience. Imagine someone experiencing your film through sound alone, or through text on screen. What would you want them to feel? What must* they know to get it? Use that as your guiding star when providing info to us.

Thank you for making your film accessible. By collaborating with us on audio descriptions and SDH subtitles, you’re not just checking a box – you’re actively enriching the audience’s experience. We’ve seen time and again how thoughtful accessibility can elevate a film, bringing its themes and emotions to life in new ways. Your effort and openness to this process mean that a mother with low vision can share the thrill of your documentary with her family, or a deaf teenager can discuss your film with friends without missing a beat.

We can’t wait to showcase your work at EcoFrames and ensure that everyone in the audience enjoys the journey. Here’s to great storytelling – for all!