Improving Accessibility of Digital Media Now and in the Future

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By the Office of Special Education Programs and Described and Captioned Media Program

The U.S. Department of Education’s Office of Special Education Programs (OSEP) and Office of Educational Technology (OET) are celebrating Global Accessibility Awareness Day (GAAD) throughout May.

Earlier this week, the OSERS Blog featured the first two of three blogs about the OSEP-funded Described and Captioned Media Program (DCMP). The first blog provided an overview of DCMP, its leadership and the types of accessible educational services provided by DCMP. The second blog addressed the technology behind the services and setting up and using teacher and student accounts. This final blog discusses content partners, systemic change and future innovations in accessibility.

As a continuation of this week’s previous two blogs, what innovations in accessibility are you excited for in the future?

Solving accessibility problems that were once thought impossible due to scale, complexity, or cost. As streaming overtook broadcast, the sheer volume of media was overwhelming to most consumers. One valid concern was that accessibility production wouldn’t be able to keep pace. In reality, we’ve seen industry-wide workflow improvements and (mostly) responsible use of Artificial Intelligence and Machine Learning to keep up with demand. People will always remain at the center of DCMP’s audio description, captioning, and American Sign Language (ASL) workflows, but we leverage technology everywhere we can to improve quality and efficiency.

How does DCMP help improve accessible materials for all?

DCMP partners with top educational content producers and distributors, including Learn Bright, Steve Rotfeld Productions, Schoolyard Films, Fred Rogers Productions, Complexly, Museum Access, BBC, Headspinner Productions, Ambrose Media, Emily Calandrelli and Nickelodeon.

As a production, engineering, and accessibility partner, DCMP acts as a technical consultant to improve accessibility. Partners receive fully accessible master files and additional technical support to help ensure that accessibility features are utilized outside of DCMP’s platforms, such as broadcast television and streaming platforms.

A recent example is DCMP’s partnership with Fred Rogers Productions. DCMP is creating ASL for several seasons of multiple children’s series. Cooperative efforts lead to an announcement from PBS Kids in April, that several episodes are now available with ASL on the PBS Kids website and app – a first for PBS.

DCMP co-produced Emily Graslie’s “Art Lab,” the first educational video series on YouTube to feature audio description natively. Not only does “Art Lab” have audio description, but it was also designed from the beginning to be accessible through Universal Design principles.

Learn more about DCMP distribution of fully accessible streaming video.

Reflecting on GAAD, what are some things people can do to increase the accessibility of digital media for individuals who have disabilities?

Be knowledgeable about high-quality accessibility— what it is and what it’s not. DCMP’s Captioning Key and Description Key guidelines for creating accessible educational media are two available resources. Learn more media accessibility information, guidelines, and research at the DCMP Learning Center.

It’s important to work with reputable partners if one is outsourcing accessibility and to check their work. Quality control and the human element are crucial for producing and delivering high-quality accessible content.

It’s also necessary to consider the means of distribution of content to make sure they are accessible, whether it’s a website, video player, DVD, streaming platform or television station.

One should strive to do more than “check the box.” Consider accessibility from the onset of a project; it shouldn’t be an afterthought or a bolt-on solution. Ultimately, it’s about doing the right thing, putting the consumer first, and including them in the processes.

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