Hear‑Me‑Out: An immersive screening experience
Production Concept
Hear‑Me‑Out is a 30-minute immersive first-person film designed to bridge the gap between physical presence and genuine participation. By combining a POV narrative with individual noise-canceling headsets, the experience simulates the reality of severe hearing loss, placing the audience directly in the shoes of Alex, a professional navigating a world that was not built for them. Through a series of escalating scenarios, viewers do not just observe a story; they inhabit the frustration, isolation, and eventual clarity of a disabled experience. While the film uses hearing impairment as its primary lens, its core intent is universal: to demonstrate that true inclusion is not about mere attendance, but about designing physical, digital, and cultural environments where every individual, regardless of ability, has the agency to participate fully.
Format: 30‑minute immersive short film (POV)
Screening: Pop-up in-person immersive screening – self-contained setup with individual headsets, deployable in any indoor venue
Perspective: Camera = Alex’s eyes (First-Person View)
Technical Setup for Screening
To maintain the theatrical « ritual » while ensuring portability, the screening requires a self-contained, modular setup. The following equipment and layout are required:
Visual Projection:
- Projector: High-lumen portable projector (capable of clear image in dimmed room lighting).
- Screen: Portable white projection screen (or a designated white wall space).
- Media Player: Laptop or media player pre-loaded with the film and synced audio files.
Seating & Layout:
- Capacity: Arrangement for approximately 20 attendees.
- Configuration: Semi-circle or theater-style seating facing the screen to ensure clear sightlines for the POV camera perspective.
- Space: Minimum 15×15 ft area to accommodate the screen, seating, and circulation.
Audio Distribution (Critical):
- Headsets: 20+ wireless noise-canceling headphones (plus 10% backup).
- Transmission System: A single-channel RF (Radio Frequency) Silent Disco Transmitter (e.g., Silent Events or Sennheiser G4 system).
- Why RF? This system broadcasts the audio signal directly to all headsets simultaneously with zero latency, ensuring perfect synchronization for the entire group without the need for individual pairing or Wi-Fi networks.
- Charging Station: A centralized cart or rack to charge all headsets between screenings.
Post-Show Engagement:
- Information Stand: A dedicated table or kiosk located near the exit.
- Content: Printed guides, QR codes to digital resources, and strategy cards offering actionable tips for improving workplace inclusion (e.g., « How to run an accessible meeting, » « Tech checklist for remote work »).
- Facilitator: A staff member stationed here to answer questions and distribute materials.
Power & Logistics:
- Power Strip: Heavy-duty extension cords and surge protectors for projector, transmitter, and charging station.
- Setup Time: Approx. 30–45 minutes for assembly and audio calibration.
- Teardown Time: Approx. 20 minutes.
Script
Prologue
(Black screen. Audience puts on headsets.)
Audio (Headset): A soft hum.
Narrator (Voiceover): « We often mistake physical presence for genuine inclusion. In our modern workplaces and social gatherings, we pride ourselves on diversity and accessibility. We invite everyone to the table. We ensure the room is wheelchair accessible. We post diversity statements and hold training sessions. But there is a profound, often invisible chasm between simply being there and truly participating.
For people living with hearing impairments, the world is not a place of silence, but a place of gaps. They sit in the room, physically included, yet mentally scrambling to fill in the blanks. They are ‘present’ in body, but lost in mind. Often, they cannot even realize what they have missed; without the full context, they don’t know what they don’t know. So they smile, they nod, and they stay silent, masking the confusion that leaves them drifting in the middle of a room full of voices.
This play, Hear-Me-Out, was born from a singular, urgent desire: to let you step into the gap. Not to tell you about hearing loss, but to let you feel it. To experience what it means to be ‘lost in mind’ while your body sits in the chair, nodding along to a conversation you can’t quite follow.
Our goal is to strip away the safety of your own hearing and place you directly into the shoes of someone navigating a world that wasn’t built for them. We want you to experience the frustration of catching only every third word. We want you to feel the exhaustion of straining to read lips while someone turns away. We want you to feel the isolation of a meeting where the technology meant to help you actually confuses you further.
Most importantly, we want you to understand the difference between attendance and participation.
- Attendance is sitting in the chair.
- Participation is having the clarity, the tools, and the environment necessary to contribute your voice, understand the nuance, and shape the outcome.
Hear-Me-Out is an immersive experience where you play the role of Alex, a person with severe hearing loss. By wearing these headsets, you will not just watch a story—you will inhabit a perspective. The audio you hear is a direct simulation of Alex’s world, designed to create an intimate connection with the character you are becoming. We hope that by the time you take off your headsets, you will realize that true inclusion isn’t about lowering expectations or offering pity. It is about designing environments—whether physical, digital, or cultural—where everyone, regardless of their abilities, has the power to participate fully.
Because being able to hear isn’t the only way to be heard.
Let the experience begin.
(Fade in: Blurry office environment. Focus is soft.)
SCENE 1: « MUFFLED BEGINNINGS »
Context: The audience (playing Alex) is standing in a modern office hallway. Audio Goal: Simulate severe hearing loss. High frequencies are cut. Visual Goal: Soft focus, desaturated colors. Tunnel vision effect.
[0:00 – 0:15] THE APPROACH
VISUAL: Camera moves forward through the hallway. The edges of the frame are blurred. MAYA enters from the left, walking briskly toward the kitchenette in the background. She is energetic, holding a travel mug. She does not stop; she keeps moving.
AUDIO (HEADSET):
- Filter: Heavy Low-Pass Filter (cutting everything above 2kHz).
- Result: Voices sound like « mumbling. » Consonants (s, f, th, k) are almost gone.
- Spatial: As Maya moves away, her voice drops in volume and clarity.
MAYA (Walking, smiling, but facing slightly away from the camera) « Morning, Alex! Oh my gosh, you won’t believe my Saturday. I finally dragged my nephew, Leo, to that new dinosaur exhibit downtown? He was absolutely obsessed. We spent three hours there, and I think I learned more about T-Rexes than he did. I’m still recovering from the leg workout! »
[0:15 – 0:30] THE « FRIDGE » MOMENT
VISUAL: Maya reaches the kitchenette. She turns her back completely to the camera to open the refrigerator. She is now facing the fridge door.
AUDIO:
- Obstruction: The sound of the fridge door opening creates a low rumble.
- Distance: Her voice becomes a distant, unintelligible murmur.
- Effect: The « mumbling » becomes a wash of noise. You cannot read lips because her face is hidden.
MAYA (Voice muffled, coming from behind the fridge door) « …so I told him, if you eat that much broccoli, you’ll turn green! And then we grabbed coffee. I tried that new oat milk latte place on 4th. It was… mumble… actually really good. Hey, did you finish the deck for the client meeting? I need to grab some water… »
VISUAL: She closes the fridge, turns around, and leans against the counter. She is still not facing the camera directly; she is looking off to the side, gesturing with her hands.
MAYA « …and then I realized I forgot to call my mom. She’s been asking about the garden all week. Anyway, I’m just grabbing a bottle of water before we dive into the project. How’s your morning going? Did you catch the email about the… »
VISUAL: Maya turns her head sharply to the left to look at a coworker (off-screen). She breaks eye contact with the camera completely. A coffee machine starts hissing loudly in the background.
MAYA (Indistinct, overlapping with the coffee machine noise) « …yeah, totally. Wait, did you say the deadline moved? I thought it was Friday. Oh, never mind, I’ll check later. Anyway, Alex, about the… »
[0:30 – 0:45] THE INTERVENTION
AUDIO:
- Shift: The muffled background noise stays, but ALEX’S VOICE cuts through clearly. It is crisp, dry, and close to the mic, contrasting sharply with the muffled world.
ALEX (SPOKEN) (Calm, but firm) « Maya, wait. I’m sorry, but I couldn’t catch most of that. You were facing the fridge, then you turned away to look at Sam. With my hearing, if I can’t see your lips, the words just disappear. It feels like you’re talking to the appliance, not to me. »
VISUAL: Maya freezes. She looks at the camera (Alex). Her expression shifts from « busy » to « realization » and then « apology. » She walks over to the small round table in the foreground and sits down, leaning forward to face the lens directly.
[0:45 – 1:00] THE CORRECTION
AUDIO:
- Shift: The heavy low-pass filter lifts slightly. High frequencies return, but a subtle « underwater » distortion remains to show that even with lip-reading, the effort is high.
- Clarity: Words are now intelligible, but the texture is still « imperfect. »
MAYA (Sitting still, facing the lens. Speaking clearly and slowly) « Oh, Alex, I am so sorry. I didn’t realize I was doing that. I was just so excited about the dinosaur trip with my nephew, Leo. He’s six. And yeah, I was trying to multitask with the coffee. Let me try again, facing you. »
(She takes a breath, maintaining eye contact.)
MAYA « I had a great weekend with my nephew. We went to the dinosaur museum. And I need to know if you finished the client deck so we can review it before the meeting. Does that make sense? »
VISUAL: Text fades in on screen (optional, or spoken by Narrator): « Notice the shift. When Maya sat still and faced Alex, the words returned. But notice the distortion that remains. Even with lip-reading, the brain works overtime to fill in the gaps. »
FADE OUT.
SCENE 2: « The Loud-But-Unclear Attempt »
Context: Same day as Scene 1. The team is preparing for the client meeting happening later this afternoon. Maya is energized and friendly; Sam is laid-back with an edge.
Visual: Camera is stationary, facing a whiteboard. Maya stands beside it, marker in hand. Sam lounges at a table nearby, guitar case visible in the corner.
Audio (Headset):
- Gain increases compared to Scene 1, but clarity does not.
- Effect: When Sam covers his mouth, audio distorts (high-frequency cut).
- Effect: When he shouts, audio peaks into digital clipping/saturation.
MAYA (Facing the whiteboard, writing notes, upbeat energy) « Alright team, we’re all set for this afternoon’s client meeting. Same time, same conference room. Sam, you ready to present the notification architecture? »
SAM (Leaning back in chair, casual, grinning) « Yo, I’m ready. Though honestly, I’d rather be finishing this new track. Been working on this heavy metal banger about how capitalism eats souls for breakfast. It’s gonna be sick. »
(Audio Treatment: Casual, slightly muffled. Some words cut off.)
MAYA (Turning to Sam, smiling) « Of course it is. You’ve been talking about that song for weeks. How’s it coming? »
SAM (Leans forward, speaking quickly, hand covering mouth as he talks) « Okay so the chorus is basically ‘money talks but nobody listens’ and the bridge has this insane riff that sounds like a factory collapsing and I added some samples of stock market bells and it’s fucking genius honestly but I haven’t got the mixing right yet and— »
(Audio Treatment: Fast, muffled, high-frequency cut. Words blur together.)
MAYA (Turning to Sam, noticing Alex’s perspective) « Sam, wait. Hold on. Alex has a hearing impairment. You need to face him and take your hand off your mouth so he can read your lips. »
SAM (Pauses, then leans in closer, speaking louder but still fast, laughing) « Oh, OH I’LL SPEAK LOUDER! No problem! Money talks but nobody listens! Factory collapse riff! Stock market bells! It’s fucking genius! »
(Audio Treatment: Volume spikes into digital clipping/saturation. Distortion is harsh and uncomfortable.)
SAM (Laughs, still not slowing down) « And I’m gonna drop this album right after the client meeting because nothing says rebellion like getting paid by a corporation to sell out! Irony is my brand, bro! »
(Audio Treatment: Continues to clip and distort. The faster he talks, the less intelligible it becomes.)
ALEX (SPOKEN) (Calm, firm, cutting through the noise) « Sam, I appreciate the enthusiasm. But louder doesn’t help. And fast doesn’t help either. I need you to slow down, face me, and speak at a normal pace. That’s what actually works. »
SAM (Takes a breath. Adjusts posture. Faces the camera directly. Speaks slowly and clearly, with a smirk) « Right. Okay. Got it. So… we’re presenting the notification system this afternoon. I’ll handle the demo. Alex, you’re on the metrics piece. We’re good? »
(Audio Treatment: Clear, no clipping. Still slightly imperfect to maintain the simulation, but intelligible.)
MAYA (Nods, turning back to the whiteboard) « Perfect. Let’s run through it one more time before we go in. We want to make sure everyone’s on the same page. »
SAM (Still facing the camera, slower pace, relaxed) « Agreed. And if the client pushes back on the timeline, we tell them the export function needs more testing. No point shipping half-baked features just to look productive. »
(Audio Treatment: Remains clear. A brief moment of successful communication.)
NARRATOR (VOICEOVER) « When someone learns you have a hearing impairment, the instinct is often to speak louder or faster. But neither helps. Hearing aids amplify all sound—including background noise. Volume without clarity just creates distortion. Speed without pauses leaves no room to process. The most effective accommodation: face the person, speak at a natural pace, and keep your mouth visible. »
(Text on screen: « What happens when well-intentioned efforts miss the mark? »)
FADE OUT.
Character Profiles for Scene 2
| Character | Personality Traits | Speech Patterns |
|---|---|---|
| Maya | Energetic, organized, supportive | Clear, structured, encouraging |
| Sam | Rebel, anti-establishment, witty | Fast, casual, uses slang, jokes |
| Alex | Direct, patient, assertive | Calm, firm, clear boundaries |
Audio Engineering Notes
| Effect | Trigger | Result |
|---|---|---|
| Low-Pass Filter | Sam’s rapid speech | High frequencies cut (~2kHz) |
| Digital Clipping | Sam’s volume spike | Harsh distortion, uncomfortable |
| Clear Audio | Sam’s adjusted pace | Intelligible, still slightly imperfect |
Foreshadowing for Scene 3
- Client meeting scheduled for « this afternoon »
- Notification system demo prepared by Sam
- Export function timeline unresolved
- Team roles established (Maya leads, Sam on tech, Alex on metrics)
- Anti-capitalism theme subtly hints at corporate critique in later scenes
Production Notes for Scene 2:
| Element | Specification |
|---|---|
| Audio Clipping | Peak at -3dB to simulate saturation without damaging hearing |
| Fast Speech | 250+ words per minute during Sam’s initial lines |
| Normal Speech | 130-150 words per minute after adjustment |
| Visual Cue | Sam’s hand visibly covers mouth during first segment |
| Transition | Clear audio shift when Sam adjusts posture and pace |
Character Intentions:
| Character | Motivation |
|---|---|
| Maya | Learned from Scene 1; actively advocates for Alex |
| Sam | Well-meaning but uninformed; demonstrates common mistakes |
| Alex | Asserts needs directly; empowers the audience to speak up |
Foreshadowing for Scene 3:
- Client meeting scheduled for « tomorrow »
- Dashboard requirements still being finalized
- Export function timeline is unresolved
- Group dynamics established (Maya leads, Sam provides input, Alex on metrics)
SCENE 3: « LOST IN THE MIX »
Context: The client meeting is underway. The team (Maya, Sam, Priya) is presenting to two clients (Raj, Lina). Visual: Wide angle POV. The camera is positioned at the head of a long conference table.
- Left: Maya (Presenter)
- Center-Left: Sam (Technical)
- Center-Right: Priya (Manager)
- Far Right: Raj (Client 1)
- Far Left: Lina (Client 2)
Camera Logic (Crucial): The camera acts as Alex’s eyes. It must react to who is speaking, but with the limitations of a human trying to lip-read:
- Reaction Lag: When a new person starts speaking, the camera should pan to them slightly after they start (0.3–0.5s delay), simulating the brain processing the sound before the eyes lock on.
- Profile Blindness: If a speaker turns 45°+ away from the camera to talk to a neighbor, the camera should struggle to focus or the image should soften, simulating the inability to read lips from the side.
- Rapid Switching: During interruptions, the camera should jerkily pan back and forth, creating a sense of disorientation and motion sickness.
- Tablet Focus: When the tablet is pulled out, the camera focus should shift to the screen, blurring the people in the background.
Audio Goal:
- The « Late Start » Effect: Audio cuts in 0.5–1.0s after the camera locks onto the speaker’s lips.
- Profile Loss: If the camera sees a profile, audio drops/muffles.
- Monotone Stream: When the tablet is active, voices flatten into a robotic stream.
PART A: The Chaos of Lip Reading (No Tablet Yet)
(0:00 – 0:45)
VISUAL: Maya is finishing a slide. She turns to the group. CAMERA: Smoothly centers on Maya. Clear focus.
MAYA (Clear, facing camera) « …and that concludes the dashboard overview. We believe this meets the core KPIs you outlined. »
CAMERA ACTION: Holds on Maya. As she finishes, the camera hesitates, waiting for the next speaker.
RAJ (Client, far right. Turns to Lina to whisper, then turns back to Maya) « So, regarding the export function… does it handle XML natively? Or do we need a middleware layer? »
CAMERA ACTION:
- Lag: Raj starts speaking. The camera is still on Maya for a split second.
- Pan: The camera jerks quickly to the far right to catch Raj’s face.
- Profile: As Raj turns to Lina to whisper, the camera tries to follow but captures only his profile. The image blurs slightly.
- Re-lock: Camera snaps back to Raj’s face as he turns back.
AUDIO:
- Effect: Audio of Raj’s question starts 0.8s after his lips move (matching the camera lag).
- Effect: When he turns to Lina (profile view), his voice drops to a mumble.
MAYA (Turns to Sam) « Sam, can you clarify the export architecture? »
CAMERA ACTION: Pans left to Sam. Smooth movement.
SAM (Leans forward, but looks at Raj, not the camera) « It’s native. We built the parser in-house. No middleware needed. It handles CSV, JSON, and XML out of the box. »
CAMERA ACTION: Camera is on Sam, but Sam is looking at Raj. The camera struggles to find a clear angle of Sam’s mouth. The focus softens.
AUDIO:
- Effect: Sam’s voice is slightly muffled (profile view).
- Effect: Audio cuts in late again.
LINNA (Client, far left. Turns to Raj, ignoring the camera) « But what about the latency? If we have a million records, will the export timeout? »
CAMERA ACTION:
- Rapid Pan: Camera whips from Sam (center-left) to Lina (far left).
- Profile: Lina is looking at Raj. Camera captures her profile. Image blurs.
- Confusion: Camera pans back to Raj, then back to Lina, trying to find the speaker.
PRIYA (Manager, center-right. Interjects, looking at Maya) « Lina, the timeout threshold is configurable. We can set it to 300 seconds if needed. »
CAMERA ACTION: Camera swings right to Priya. She is looking at Maya (off-camera left). Camera tries to follow her gaze to Maya, then snaps back to Priya.
AUDIO:
- Effect: Priya’s voice is clear but cuts in late.
- Effect: As she finishes, Raj interrupts.
RAJ (Interrupting, looking at Priya) « Wait, but if we set it to 300, does that impact the real-time metrics? »
SAM (Shouting over Raj, looking at Lina) « No! It doesn’t! The metrics are async! »
CAMERA ACTION: CHAOS MODE.
- Camera jerks from Raj to Sam.
- Sam is looking at Lina. Camera tries to follow Sam’s gaze to Lina.
- Lina is looking at Raj.
- Camera pans frantically between all four people.
- Motion Blur: The rapid panning causes significant motion blur. The viewer feels dizzy.
AUDIO:
- Effect: Overlapping voices create a « wash » of sound.
- Effect: The audio lags behind the visual chaos.
ALEX (INNER VOICE) (Calm, frustrated) « I’m missing the start of every sentence. I’m looking at Raj, but Sam is answering. I’m looking at Sam, but Priya is talking to Maya. I’m just… out of sync. I don’t know who is saying what anymore. »
PART B: The Tablet Intervention (The Flawed Solution)
(0:45 – 1:30)
VISUAL: Alex’s hand reaches into the frame and pulls out a tablet. CAMERA ACTION:
- Focus Shift: The camera focus racks from the people (background) to the tablet screen (foreground).
- Static: The camera becomes relatively static, fixed on the tablet, with the people visible but blurry in the background.
AUDIO SHIFT:
- Natural room ambience fades.
- Voices become a continuous, slightly robotic, monotone stream.
- Microphone Effect: Audio quality depends on proximity to the tablet (near Maya).
TABLET SCREEN (ON-SCREEN TEXT): (The text scrolls rapidly. No speaker names. Just a running stream of text.)
…native. We built the parser in-house. No middleware needed. It handles CSV, JSON, and XML out of the box. But what about the latency? If we have a million records, will the export timeout? The timeout threshold is configurable. We can set it to 300 seconds if needed. Wait, but if we set it to 300, does that impact the real-time metrics? No! It doesn’t! The metrics are async!
DIALOGUE CONTINUES (ACTORS):
LINNA (Turning to Raj, ignoring the tablet) « Okay, but who is responsible for reaching out to the field engineers to test this? Is that on the dev team? »
CAMERA ACTION: Camera stays fixed on the tablet. Lina is visible in the blurry background, turning to Raj.
SAM (Leaning back, typing on his laptop) « Yeah, I can handle that. I’ll reach out to them tomorrow. »
CAMERA ACTION: Camera stays on tablet. Sam’s hands typing are visible in the lower periphery.
AUDIO:
- Effect: Loud CLICK-CLACK of typing drowns out Sam’s voice.
- Tablet Text: Glitches.
…handle that. I’ll … tomorrow. (Missing « reach out to them »)
PRIYA (Leaning in, speaking softly, far from the tablet mic) « The next phase of the project is due next Friday. We need the field test results by then. »
CAMERA ACTION: Camera stays on tablet. Priya is far away in the background.
AUDIO:
- Effect: Priya’s voice is extremely faint and distorted on the tablet feed.
- Tablet Text: Garbled/Missing.
…phase … due … (Garbled/Missing)
RAJ (Turning to Maya)
SCENE 5: « Remote Work: The Game-Changer » (Video Call Interface POV)
Visual: Screen transforms into a video conferencing interface (Zoom/Teams style). Each actor in a separate window.
Audio (Headset):
- Shift: Sudden transition to crisp, high-fidelity audio.
- Effect: Each speaker has a dedicated channel. No overlap.
- Effect: Subtitles now include speaker names and perfect sync.
Visual: Actors now wear masks in the « in-person » footage, but their video call windows show clear faces.
Priya (On video call): « Let’s switch to a video call. I’ll share my screen, and our captioning engine will label everything. »
Subtitle Display (On Screen):
| Speaker | Caption |
|---|---|
| [Maya] | « The UI will have a collapsible side panel for filters. » |
| [Raj] | « Add a dark-mode toggle for night-time users. » |
| [Lina] | « Export formats: CSV, JSON, XML. » |
| [Sam] | « We need version control for exported files. » |
| [Priya] | « And a real-time alert system for threshold breaches. » |
Narrator (Voiceover): « With webcams, headsets, and real-time captioning, Alex can finally participate. The technology bridges the gap that in-person masks and poor acoustics created. »
CLOSING SEQUENCE
Visual: Video call windows fade. Camera pulls back to show Alex’s empty chair.
Narrator (Voiceover): « Thank you for walking through Alex’s day. Being hard-of-hearing doesn’t mean being unable—it means experiencing the world differently. Videoconferencing platforms, with clear video, dedicated microphones, and accurate captions, are a godsend for people like Alex. They turn a room where you’re present but silent into a space where you truly participate. »
(Text on screen: « Accommodation isn’t just a badge. It’s about designing processes that let every voice be heard as intended. »)
Narrator (Voiceover): « So, when you leave tonight, think about the tools you control: your meeting agenda, your camera, your willingness to pause and ensure everyone sees your lips. Embrace newer technologies that level the playing field. Remember: We are all able—just sometimes in different ways.
While this experience focuses on hearing impairment, the principle extends far beyond sound. The same chasm between presence and participation exists for anyone navigating a world not built for them.
- Mobility: Being in a wheelchair in a room of standing people.
- Neurodivergence: Being overwhelmed by sensory chaos or struggling to jump into a fast-paced conversation.
- Vision: Trying to follow a presentation where the slides are densely packed with text or the whiteboard isn’t transcribed.
- Chronic Illness: Having the energy to attend but not the capacity to engage due to pain or fatigue.
- Speech & Cognition: Being unable to contribute because the pace is too fast or the format doesn’t allow for alternative communication.
Hearing loss is simply the lens through which we explore a universal truth: true inclusion requires designing environments where everyone can participate, not just be present. »
(Fade to black. Music swells—clear melody replacing the earlier muffled motif.)
Text on Screen: « Headsets can be returned at the exit. Thank you for participating. »
Key Production Notes
Audio Engineering
- Binaural Recording: Use binaural microphones for realistic spatial positioning.
- Dynamic Range: Ensure comfortable listening levels; avoid sudden spikes that could damage hearing.
- Frequency Filtering: Apply low-pass filters to simulate hearing loss (cut frequencies above 2kHz for severe loss scenes).
Visual Effects
- Focus Pulls: Blur edges of frame during « muffled » scenes to simulate tunnel vision.
- Color Grading: Desaturate colors in early scenes; increase vibrancy in Scene 5 to symbolize clarity.
- Subtitle Design: Use distinct colors for each speaker in Scene 5 to reinforce visual accessibility.
Accessibility
- Deaf/HoH Audience: Provide printed scripts.
- Hearing Audience: Headsets are mandatory to experience the intended effect.
- Sensory Sensitivity: Offer a « low-intensity » audio option for viewers sensitive to sudden volume changes.
Logistics Checklist for In-Person Screening
| Item | Responsibility | Notes |
|---|---|---|
| Wireless Headsets | Tech Director | 1 per attendee + 10% backup |
| Charging Station | Venue Staff | Ensure all charged pre-show |
| Sanitization | Ushers | Wipe headsets between screenings |
| Backup Audio | Sound Engineer | Stereo mix available if headsets fail |
| Printed Scripts | Front of House | For deaf/hard-of-hearing attendees |
| Reflection Facilitator | Producer | Lead post-show discussion |