De discapacidades a capacidades: testando subtítulos en medios inmersivos con usuarios

User testing in Media Accessibility has often profiled users based on their disabilities. Subtitles for the deaf and hard of hearing, for instance, have been generally tested with their expected target audience, which is deaf and hard-of-hearing users. This article argues that selecting users based on sensory disabilities may not be the best strategy to obtain relevant results, as other capabilities––for instance, technological capabilities—may have a greater impact on the results. Moreover, the article argues that access services should not be exclusively for persons with disabilities but also for other audiences. If accessibility is mainstreamed, and ideally integrated in the creation and production processes, testing should expand beyond an exclusive approach based on accessibility to a more general approach based on usability where users with diverse capabilities are considered. To illustrate this point and propose a new approach to user testing in Media Accessibility, moving from a disability to a capability model, specific examples from the European Union funded project ImAc (Immersive Accessibility) are shown in a chronological order. Then, the article presents the initial testing, targeting persons with disabilities, and describes the poor data results leading to a new approach. A new testing focus is proposed, and the methodological shift is justified. After that, the second test in which the new approach is implemented is described, using the same stimuli but users with different levels of knowledge regarding new technologies. The article finishes with conclusions and final remarks in which the door is opened to move from an accessibility approach to testing to a usability approach.En las pruebas con usuarios en los estudios de accesibilidad en los medios, generalmente se define el perfil de los usuarios en relación con su discapacidad: los subtítulos para sordos, por ejemplo, se suelen probar con usuarios sordos o con problemas de audición. En este artículo, se defiende que seleccionar a los usuarios según sus discapacidades sensoriales puede no resultar la mejor estrategia para obtener resultados relevantes, ya que otras capacidades (capacidades tecnológicas) pueden suponer un impacto mayor. Además, se argumenta que los servicios de accesibilidad no deberían estar destinados exclusivamente a las personas con discapacidades, sino que el público general también puede beneficiarse. Si los servicios de accesibilidad están cada vez más presentes en la vida de los usuarios e, idealmente, se integran en el proceso de creación y producción, las pruebas con usuarios deberían cambiar hacia un enfoque general basado en la usabilidad en lugar de exclusivamente la accesibilidad, en el que se consideren usuarios con diferentes capacidades. Para ilustrar este marco conceptual y proponer un nuevo enfoque a la hora de abordar pruebas con usuarios en el área de accesibilidad en los medios audiovisuales, en el que se evoluciona de un modelo basado en las discapacidades a un modelo basado en las capacidades, se mostrarán ejemplos específicos en orden cronológico del proyecto ImAc (Immersive Accesibility) financiado por la Unión Europea. En la sección 2, se presentan las pruebas iniciales, que se desarrollaron con usuarios con discapacidades, y se describen los resultados insuficientes que se tradujeron en la adopción de un nuevo enfoque. En la sección 3, se propone un nuevo modelo para las pruebas con usuarios y se justifica el cambio metodológico. La sección 4 describe la segunda prueba en la que se puso en práctica este enfoque, usando los mismos estímulos, pero con usuarios con diferentes capacidades tecnológicas. En las conclusiones, se deja una puerta abierta que propone la evolución de un enfoque de pruebas con usuarios basado en la accesibilidad a un enfoque basado en la usabilidad

(Sub)titles in cinematic virtual reality : a descriptive study

Virtual reality has attracted the attention of industry and researchers. Its applications for entertainment and audiovisual content creation are endless. Filmmakers are experimenting with different techniques to create immersive stories. Also, subtitle creators and researchers are finding new ways to implement (sub)titles in this new medium. In this article, the state-of-the-art of cinematic virtual reality content is presented and the current challenges faced by filmmakers when dealing with this medium and the impact of immersive content on subtitling practices are discussed. Moreover, the different studies on subtitles in 360º videos carried out so far and the obtained results are reviewed. Finally, the results of a corpus analysis are presented in order to illustrate the current subtitle practices by The New York Times and the BBC. The results have shed some light on issues such as position, innovative graphic strategies or the different functions, challenging current subtitling standard practices in 2D conten

Lego Project Data: An Open Data Archive for Qualitative Video Research

This article introduces and documents the collection and processing of raw video and audio recordings of an experimental Lego puzzle team game, which led to the archiving of the audio-visual data and ancillary materials in an open format suitable for sharing and reuse. The primary motivation was for the data to be included in demonstration packages for immersive qualitative analysis and transcription software tools that work natively with 360-degree video data. The data is made available in an open data archive with a Creative Commons license

Accessibility in 360º video players

Accessibility is a key requirement for any multimedia tool and application. With the current trend towards immersive experiences, such as Virtual Reality (VR) and 360o video, it becomes key that these environments are adapted to be fully accessible. However, until recently the focus has been mostly on adapting the existing techniques to fit immersive displays, rather than considering new approaches for accessibility designed specifically for these increasingly relevant media experiences. This paper surveys a wide range of 360o video players and examines the features they include for dealing with accessibility, such as Subtitles, Audio Description, Sign Language, User Interfaces and other interaction features, like voice control and support for multi-screen scenarios. These features have been chosen based on guidelines from standardization contributions, like in the World Wide Web Consortium (W3C) and the International Communication Union (ITU), and from research contributions for making 360º video consumption experiences accessible. The in-depth analysis has been part of a research effort towards the development of a fully inclusive and accessible 360º video player. The paper concludes by discussing how the newly developed player has gone above and beyond the existing solutions and guidelines, by providing accessibility features that meet the expectations for a widely used immersive medium, like 360º video

Subtitles in virtual reality : guidelines for the integration of subtitles in 360º content

Immersive content has become a popular medium for storytelling. This type of content is typically accessed via a head-mounted visual display within which the viewer is located at the center of the action with the freedom to look around and explore the scene. The criteria for subtitle position for immersive media still need to be defined. Guiding mechanisms are necessary for circumstances in which the speakers are not visible and viewers, lacking an audio cue, require visual information to guide them through the virtual scene. The aim of this reception study is to compare different subtitling strategies: always-visible position to fixed-position and arrows to radar. To do this, feedback on preferences, immersion (using the ipq questionnaire) and head movements was gathered from 40 participants (20 hearing and 20 hard of hearing). Results show that always-visible subtitles with arrows are the preferred option. Always-visible and arrows achieved higher scores in the ipq questionnaire than fixed-position and radar. Head-movement patterns show that participants move more freely when the subtitles are always-visible than when they are in a fixed position, meaning that with always-visible subtitles the experience is more realistic, because the viewers do not feel constrained by the implementation of subtitlesLos contenidos inmersivos se han convertido en un medio interesante para contar historias. A este tipo de contenido normalmente se accede con unas gafas de realidad virtual, a través de las cuales el usuario, que se encuentra en el centro de la acción, tiene la libertad de mirar y explorar la escena libremente. Los criterios para determinar la posición de los subtítulos en contenidos inmersivos todavía no se han definido. También se necesitan mecanismos de guía para indicar dónde está la persona que habla cuando está fuera del campo de visión y los usuarios no pueden contar con el audio para guiarse. El objetivo de este estudio de recepción es comparar diferentes estrategias de subtitulación: subtítulos siempre visibles con subtítulos colocados en posiciones fijas, y flechas con radar. Para ello, se han recopilado los comentarios de 40 participantes (20 oyentes y 20 con pérdida auditiva) sobre las preferencias, la inmersión (con el cuestionario ipq) y los patrones de movimiento de cabeza. Los resultados muestran que los subtítulos siempre visibles con flechas son la opción preferida. Además, estas soluciones obtuvieron mejores puntuaciones en el cuestionario ipq. Los patrones de movimientos de cabeza muestran que los participantes se movían más libremente con los subtítulos siempre visibles, lo que supone que con este tipo de subtítulos la experiencia es más realista ya que los usuarios no se sienten cohibidos por la integración de los subtítulosLes contenus immersifs sont devenus un moyen intéressant de raconter des histoires. Ce type de contenu est généralement accessible avec des lunettes de réalité virtuelle, avec lesquelles l'utilisateur est au coeur de l'action et à la liberté de regarder et d'explorer la scène librement. Les critères pour définir la position des sous-titres dans ce contenu n'a pas encore été définie. Des mécanismes de guidage sont également nécessaires pour indiquer où se trouve le locuteur lorsqu'il est hors du champ de vision et que les utilisateurs ne peuvent pas se fier à l'audio pour être guidés. L'objectif de cette étude de réception est de comparer différentes stratégies de sous-titrage : des sous-titres toujours visibles avec des sous-titres placés à des positions fixes et des flèches avec le radar. À cet égard, les commentaires de 40 participants (20 auditeurs et 20 malentendants) ont été recueillis sur les préférences, l'immersion (avec le questionnaire ipq) et les schémas de mouvements de la tête. Les résultats montrent que les sous-titres qui sont toujours visibles avec des flèches sont l'option préférée. En outre, ces solutions ont obtenu de meilleurs résultats dans le questionnaire ipq. Les modèles de mouvements de la tête montrent que les participants se sont déplacés plus librement avec les sous-titres toujours visibles, ce qui signifie qu'avec ce type de sous-titres, l'expérience est plus réaliste car les utilisateurs ne sont pas gênés par l'intégration des sous-titre

Disruptive approaches for subtitling in immersive environments

The Immersive Accessibility Project (ImAc) explores how accessibility services can be integrated with 360o video as well as new methods for enabling universal access to immersive content. ImAc is focused on inclusivity and addresses the needs of all users, including those with sensory or learning disabilities, of all ages and considers language and user preferences. The project focuses on moving away from the constraints of existing technologies and explores new methods for creating a personal experience for each consumer. It is not good enough to simply retrofit subtitles into immersive content: this paper attempts to disrupt the industry with new and often controversial methods. This paper provides an overview of the ImAc project and proposes guiding methods for subtitling in immersive environments. We discuss the current state-of-the-art for subtitling in immersive environments and the rendering of subtitles in the user interface within the ImAc project. We then discuss new experimental rendering modes that have been implemented including a responsive subtitle approach, which dynamically re-blocks subtitles to fit the available space and explore alternative rendering techniques where the subtitles are attached to the scene

The specification and design of an interactive virtual environment for use in teacher training

In this paper, we examine the rationale behind the specification and design of an interactive, virtual environment, optimized for particular task-based learning activities and the dissemination of information. The software we describe represents a typical British primary school, for use in training Information and Communications Technology (ICT)co-ordinators at primary level. By documenting our ongoing evaluation of both this resource and the technologies used in its implementation, we provide a detailed description of the production process of a prototype piece of software. This highlights the importance of pedagogy, new technologies and project management, and should be of particular interest to multimedia designers and academics preparing to develop innovative learning applications

A sound idea: An investigation into accessible video game design for the deaf and hard of hearing

A widely accepted, and incorrect, assumption towards hearing accessibility in video games is that deaf and hard of hearing (DHH) users are those who encounter the least barriers and are generally well catered for. Rapid advancement in video game technology has seen video game sound evolve from simple blips generated by internal circuitry to fully realised digital audio used to convey critical information. To accommodate the DHH, this information needs to be conveyed in an alternative manner. However, evidence suggests existing accessible design solutions for the DHH lack specificity and are insufficient. Thus, the inability to hear, or hear well, has historically resulted in DHH users left with impeded experience and gameplay. This thesis describes an investigation to address the primary research question: How might accessible video game design practices be facilitated to better accommodate the deaf and hard of hearing? To examine this question, an action research method as part of a transformative mixed methods methodology was used. Data collection procedures included critical analysis of literature, observations, and a cross-sectional self-administered survey for triangulation. The critical analysis of literature exposed issues relating to accessible video game design, particularly in relation to the identification of solutions and technical implementation. Further, issues related to the classification of video game software were identified. This posed potential problems with identification of game design methods and led to the development of a new video game classification model. The new model informed an analysis on the methods used for the design of video games, and results were visually represented and mapped to the different approaches to accessible design. Subsequent analysis determined that a game assessment framework is a suitable approach to facilitating accessible design. Further investigation identified visual feedback as the most suitable form of complementary feedback to game audio. This led to the development of a new model to classify visual feedback elements used in video games, and identification of audio feedback categories based on diegetic film theory. Through triangulation of results, a new game feedback model (GFM) was developed. The GFM was used for observational experimentation to identify and classify individual visual feedback elements used in video games. Each element was analysed and mapped to categories of game sound. The resulting model, with populated data, was used to determine what visual feedback elements may be used to complement specific categories of critical game audio. A survey was subsequently used for triangulation, and resulted in amendments to the final model. Through iterative development, and interpretation of findings, the research culminated in the development of a game assessment framework. The three-step framework aids in the classification of game sounds; assesses the impact of those game sounds; and provides recommendations for complementary visual feedback elements for sounds identified as having an adverse impact on user experience and gameplay if they were to be removed. The framework is innovative and has the potential to provide practical guidance for developers of video games. In addition, this research provides the foundation for future research, with the potential to influence accessible game design for the DHH

The Localisation of Video Games

The present thesis is a study of the translation of video games with a particular emphasis on the Spanish-English language pair, although other languages are brought into play when they offer a clearer illustration of a particular point in the discussion. On the one hand, it offers a descriptive analysis of the video game industry understood as a global phenomenon in entertainment, with the aim of understanding the norms governing present game development and publishing practices. On the other hand, it discusses particular translation issues that seem to be unique to these entertainment products due to their multichannel and polysemiotic nature, in which verbal and nonverbal signs are intimately interconnected in search of maximum game interactivity. Although this research positions itself within the theoretical framework of Descriptive Translation Studies, it actually goes beyond the mere accounting of current processes to propose changes whenever professional practice seems to be unable to rid itself of old unsatisfactory habits. Of a multidisciplinary nature, the present thesis is greatly informed by various areas of knowledge such as audiovisual translation, software localisation, computer assisted translation and translation memory tools, comparative literature, and video game production and marketing, amongst others. The conclusions are an initial breakthrough in terms of research into this new area, challenging some of the basic tenets current in translation studies thanks to its multidisciplinary approach, and its solid grounding on current game localisation industry practice. The results can be useful in order to boost professional quality and to promote the training of translators in video game localisation in higher education centres.Open Acces