5.1 Introduction
5.2 Contact data
5.3 Product data
5.4 Analysis of the data
5.4.1 Producers and publishers
5.4.2 The product5.4.2.1 Format
5.4.2.2 Costs
5.4.2.3 Content
5.4.2.4 Language information
5.4.2.5 Sign language presentation5.4.3 The production process
5.4.4 The distribution process
5.4.5 Usability aspects
The aim in this section was to identify the range of "state of the art" signing books aimed at deaf Adults. Particular attention was paid to financing of signing books, awareness of needs of low vision users, the composition of production teams and their different production methods. This chapter looks at the process of collecting information. It also looks at the actual products themselves and the production process, and how they differ with each production team, exploring methods, styles, filming techniques and users.
Information, which included a flyer, press release, general introduction letter and also a questionnaire, was sent to a wide distribution list, to determine what material is on the market and so that organisations and people involved with video and CD-ROM production were aware of the Signing Books project. A conference - "Sign Fair" - organised by the Council of Advancement of Communication with Deaf People (GB) was attended and flyers and questionnaires distributed to producers, organisations and other interested parties.
The main source of information was through face to face meetings. The launch of a television series for deaf children at Channel 4 (GB) provided valuable contacts, as did a meeting with a group of Finnish deaf students.
The second stage comprised visits to the main production teams and distributors in Great Britain. This was extremely helpful as it broadened the picture of video production, clarified priority issues, and set a firm basis for the research. Visiting the Forest Bookshop, a major distributor of video and CD-ROM materials in the deafness field, was vitally important as they provided a comprehensive list of signing books and also information about other production teams, and useful European links as well. Personal interviews at these bases were undertaken, focusing on the aims of their productions, background information on their teams, and information about their products and production and distribution processes. As well as personal interviews, where the productions database questionnaire was completed, the questionnaire was also sent to hearing production teams; with deaf production teams it was easier to conduct the interviews face to face, as in some cases English was a second language for participants.
In the data that was collected there were few clear differences between different production groups. The deaf audience's needs were perceived as very much the same, so the methods used and the styles of the each of the signing books were very similar.
The signing books available for deaf adults varied, but they were for the most part information videos for the deaf community, commissioned by health authorities, department of social security, employment services, and schools.
There are various production teams in the UK, all with different methods and different aims in the signing books market. The two main teams which produce signing books on a regular basis are Chase Video Productions in Derby, and the London Deaf Access Project (part of the British Deaf Association). There are other smaller groups who do not produce signing books on a regular basis but whose productions are equally important. These include the Sign Language Video People (GB), The Irish Deaf Video Project (EI), Video Information Project (GB) and Microbooks (GB) (CD-ROM producers). Funding for production of signing books comes from various sources including sponsorship from local firms (e.g. Toyota Cars), lottery funds, finance from commissioning organisations (e.g., the health authority that commissioned the Men and Women's Guides to Sexual Health videos. The Sign Language Video People production costs 583 ECU a day which includes a 2 person crew, camera, tripod, and lights if required. Tape stock and expenses are in addition (tapes cost 16.60 ECU for each hour). Editing is also 583 ECU a day, which includes full use of non-linear video editing suite, editor, design of opening logo if required and also the design of the video sleeve of required. The main production teams are usually all-deaf, or mixed deaf and hearing teams.
The formats were very similar, with some small variations. These included a signer presenting information to camera, graphics, dramatisation with actors, and filming on location. The Dutch Production (Vi-Taal), Meer dan een gebaar, can be used as an example. Meer dan een gebaar is a report for the Dutch Government, describing the status of sign language in the Netherlands, and the benefits and costs of recognising Sign Language of the Netherlands as one of that country's official languages. The summary of the report is seven pages in the book (approximately: 3500 words). On the video (approximately 40 minutes in length), the summary is presented in sign language in a straightforward way: the (deaf) signer is sitting at a table, with the text in front of him. He signs the text directly to the camera; there are no illustrations or other visuals.
The price range of the products depended on who had commissioned them. Some of the signing books were distributed free of charge to people in the deaf community, while others were for sale. The signing books that had to be bought were similar in price, ranging from 20 to 33 ECU, with CD-ROMs costing more.
Most signing books for deaf adults were, as stated before, information videos, including examples such as the Men's Guide to Sexual Health and Women's Guide to Sexual Health (with accompanying books); employment service information on how to find a job; a range of social services videos with information on benefits, pensions, and youth schemes; and a video raising awareness about the dangers of alcohol.
The signing books studied had captions accompanying the sign language, with simultaneous music and voice-over.
For adaptations of mainstream videos, signing was added with ChromaKey, with the signer standing to the left of the screen (the right of the viewer).
Dramatisation was used with various actors and an interpreter. An example of this is in the Woman's Guide to Sexual Health , where there was a scene with an actress in the doctor's surgery, explaining to the doctor her symptoms via an interpreter who was sitting next to the doctor.
Signers were usually seen from the waist up, but there was a degree of variation from this in dramatised scenes. Costumes were also used to represent historical periods.
Signing style and speed depend on the storyline of the signing book. With the Men and Woman's Guides to Sexual Health, the signing was precise and clear to convey full information, but there was also use of characterisation in the role-play scenes, where the actor had to convey the appropriate signing style for someone who is visiting the doctor with serious health worries.
The actors and presenters were usually cued by hand signals. As there is no common written form of sign language, filming was a stop-start process, and actors were not required to memorise the full amount of information they had to sign.
Time taken for the production process varies, but is usually relatively short. Factors affecting production time include the length of the video the number of actors involved, the amount of time required for research, script writing, and translation into sign language. In most of the signing books, especially at Chase Video Productions and LDAP, there was a sign monitor involved to make sure that the sign language levels were in keeping with the subject and target audience. In some signing books, a professional scriptwriter was employed who knew the subject closely, and when the scripts were finished, they were translated into Sign Language.
Recordings were a mixture of filming on location and in the studio.
Supplementary background information was filmed in the studio, using ChromaKey, with the actors in location settings.
Deaf directors are used, at Chase Video Productions and LDAP, and all their presenters were deaf.
The presenters and actors generally felt that they performed better with an all-deaf crew, or mixed deaf-hearing crew, as they felt this promoted greater relaxation and easier communication.
Most signing books had more than one point of sale, with GB productions using Forest Bookshop as a main mail-order distribution point. Forest Books are specialist international retailers of Deaf books and videos and act as booksellers, publishers, distributors and specialists in books and videos about Deafness and Deaf Issues. Producers also distribute directly and Chase Video Productions sell their signing books through an educational resource retailer as well as through Forest Bookshop.
In Ireland and Scotland, signing books are marketed by the production teams themselves, although this service is not widely publicised. Usually marketing is done by the production team, funded by the video commissioners, and in the case of the Men and Women's Health Guides, publicised and launched through the British Deaf Association Health Promotion Service, which, in collaboration with the health authorities, commissioned and financed the videos.
Signing book actors are paid between commercial and charity rates, varying from 167 ECU to 1670 ECU for commercial rates and 33 ECU to 66 ECU for charity rates plus travel expenses, depending on experience and training It was difficult to obtain specific information about costs but LDAP's production costs for the Men and Women's Health guides came to 16667 ECU, while the Alcohol Abuse video cost 33333 ECU which covered everything from pre-production to post-production, 500 copies of the video and design of the video cover. These signing books are not made for profit, but for educating and informing the deaf community about important issues.
LDAP have made 700 signing books and with each one they believe they are improving and realising what the deaf community wants and needs, through feedback from correspondence, lectures about their work, and responses at conferences and seminars. Chase Video Productions are available on loan at Derby school, and children parents and school teachers who use the videos in the classrooms all provide feedback.
It was general practice to have a sign language monitor on all production teams to ensure that the sign language levels were appropriate to meet the audience needs.
Only one company made sure that low vision signers were taken into account, maintaining control over considerations such as shadows, bright lights, and subtitling in black and white. Other companies stated that they did not have the time and money to take low-vision users into account but that they planned to in the future.
Funding for the production of signing books generally came from an outside source, such as sponsorships, grants, and commissions.