RNIB's Accessible media services overview 2024

Viewer complaints

On-screen text accessibility

Illegible fonts and poor colour contrast in on-screen text remain significant problems. These issues persisted throughout 2024 and were a frequent source of complaints. With the year filled with election coverage, the problem was even more noticeable. Significant problem areas included:

• Information-based graphics: Often featuring unspoken text displayed in white against pale backgrounds, making it difficult for viewers with sight loss to read.
• Text in dramas and films: Text messages on-screen and burnt-in subtitles for foreign-language content added to the accessibility challenges.

Audio-described programmes usually include the on-screen text within the audio description (AD) track, but for shows without AD—or those that don’t require it—these text issues should have been addressed during production. Simple fixes, such as improving font clarity and colour contrast, would reduce reliance on AD and make on-screen content more accessible to everyone.

Audio description (AD) availability on video-on-demand

While some progress was made in 2024, significant gaps remain. Paramount+ has added AD to approximately 5,000 hours of content. Meanwhile, Sky continues to be the most notable outlier, providing no AD on its on-demand platform, leading to a high number of media accessibility related complaints logged this year.

Other broadcasters improved AD availability on their streaming platforms, especially for box sets and newly released series. However, in some cases the following issues persist:

• Some boxsets are still being uploaded to catchup services without AD. AD is then added for each episode only after it has been broadcast on linear TV or following viewer complaints. For example, Apples Don’t Fall in the iPlayer suffered from this issue.
• Delivery of AD remains fragmented and inconsistent across devices and platforms, frustrating viewers. For instance, AD is only available on specific platforms for Channel 4 and ITVX. We understand efforts are underway to address this issue, and we hope to see significant progress in the coming year.
• There are also ongoing problems with programmes losing access tracks when moving between platforms. For instance: Honour lost its AD track when transitioning from ITV to Netflix. Shetland retains AD on BBC iPlayer but lacks it on ITVX.
• Synthetic speech for AD remains a contentious issue. Amazon Prime Video’s use of synthetic AD generated numerous complaints, with viewers finding it distracting and detrimental to their experience—especially in children’s programming. One example of this was the Julia Donaldson films.

VOD app accessibility

Another recurring issue is the incompatibility between built-in text-to-speech features and VOD (Video on Demand) apps. For example, while Channel 5's player has supported AD for many years and may in fact have been among the very first to resolve the issue of AD being available cross platform, we have heard from viewers who rely on screen readers that they still struggle to use it independently. Consistent and accessible solutions are essential to ensure that blind and partially sighted viewers can enjoy content without unnecessary barriers.

Provision of audio description across different genres

Sports

Broadcasters built on live AD advancements in 2024, particularly in sports. Key developments include:

• ITV was the first one to trial descriptive audio commentary for live sports during the Six Nations Championship in February. England’s matches against Wales and Ireland offered a detailed and immersive experience.
• UEFA EURO 2024 featured comprehensive Audio Descriptive Commentary (ADC), which is a service that provides commentary for blind and partially sighted fans at live football matches. It was available at all matches, accessed remotely via the official app. However, the lack of a video feed limited its appeal for shared viewing.
• Paris Olympics and Paralympics marked significant progress:
• BBC’s live broadcasts of the opening and closing ceremonies included AD.
• Channel 4 extended this by adding AD not only on the opening and closing ceremonies but also introduced AD for selected live sporting events during the Paralympics, enhancing accessibility for key visual elements like athletes’ movements and pivotal moments.

Entertainment

Strictly Come Dancing continued its live AD, enabling blind and partially sighted viewers to engage with the show in real-time. The BBC also trialled a Navilens code to improve the accessibility of its voting QR codes.

A historic milestone was reached with blind comedian Chris McCausland joining the show’s lineup, driving greater representation and awareness of accessibility challenges.

The BBC provided enhanced commentary for Remembrance Sunday: The Cenotaph, enriching access to the event’s ceremonial elements.

This year, broadcasters took significant steps to enhance visual accessibility alongside AD. A standout example is a film about Paralympian swimmer Melanie Barratt, the first blind woman to swim the English Channel, available on Sky. The film has been praised for its accessibility features, including high-contrast visuals, integrated AD, BSL and subtitles.

Audio description on content reached impressive levels this year. For instance, ITV3 achieved 80% of its broadcasts with AD as of November. While this percentage may have largely been achieved through repeated content, it reflects good practice by ensuring that viewers can access AD at any broadcast time, rather than being limited to the initial airing, as was common in the past.

Amazon Prime Video introduced an updated AD style guide, although synthetic AD quality on the service remains problematic with a number of comments shared with us over the past year. Additionally, Amazon Prime introduced a new dialogue boost feature which allows viewers to increase the volume of dialogue relative to background music and sound effects, with adjustable settings for medium or high levels. We have often heard that excessively high music levels can be distracting for viewers with sight loss, especially when they are listening to a combination of dialogue, voiceover, and AD so this should be useful.

RNIB’s research examining the suitability of synthetic speech for AD

RNIB’s research examining the suitability of synthetic speech for AD explored the potential of synthetic voices in AD through quantitative survey data and qualitative focus group insights. While synthetic AD offers scalability and accessibility benefits, it falls short in emotional adaptability, tonal integration, and contextual sensitivity compared to human narration. Participants were more accepting of synthetic voices for informational content, such as documentaries or factual programming, but flagged significant challenges with entertainment-focused genres that demand emotional nuance. Critical issues like sound mixing quality and cultural localisation further highlighted areas for improvement. The study emphasises the need for minimum quality standards for synthetic AD, drawing on participant feedback and technical benchmarks to create a robust framework ensuring clarity, emotional resonance, and user satisfaction while providing accessibility.

Accessibility of TV adverts

At the time of writing this review, John Lewis and Waitrose had released their 2024 Christmas campaign with audio description. However, while the M&S Christmas ad was also audio described, we were unable to locate the audio-described version online. On the other hand, Barbour, which may have audio described their Christmas campaign for the first time, did make it available on YouTube.

RNIB’s reviewed the top Christmas ads of 2023 which revealed significant shortcomings:

• Only one of the 12 ads reviewed was fully accessible without intervention.
• Two ads included AD versions that were subsequently removed from online platforms.
• Nine ads lacked any accessibility features, excluding blind and partially sighted viewers.
• Brand names were often not spoken, diminishing recognition for audio-reliant audiences.

We put forth following recommendations for brands:

• Plan accessibility early: Integrate accessibility considerations from the storyboard stage.
• Speak brand names aloud: Ensure they are included in audio for universal recognition.
• Use AD: Make audio-described versions available across all platforms, including social media.
• Embed product details in dialogue: Enhance inclusivity through natural integration.

Flock Associates have also produced a Reframe Guide for Advert Accessibility, which emphasises integrating accessibility throughout campaign development.

Apple’s Apple Intelligence campaign continued to set the standard, demonstrating how accessible advertising can effectively reach and support wider audiences.

Legislation/Policy

Media Act Progress

The Media Act received Royal Assent at the end of May 2024, streamlining the broadcasting regulatory framework and bringing a broader range of VOD (Video on Demand) services under its scope. The Act is divided into six main parts, with Part 4 focusing specifically on VOD services.

Part 4 amends the Communications Act 2003, introducing a new category of service called “Tier 1 services.” These Tier 1 services will be subject to a new Ofcom VOD Code, modelled on the Broadcasting Code, which will establish enhanced content standards. Crucially, the Act also mandates that Tier 1 service providers ensure their services are accessible to people with disabilities. Ofcom states: “This will mean that the existing statutory requirements for linear broadcasters to provide subtitling, AD, and signing are matched on mainstream on-demand services.”

Under the Act, accessibility targets are introduced in two phases:

• Years 1 and 2: At least 40% of catalogue hours must be subtitled, 5% must be audio-described, and 2.5% must be signed.
• Years 3 and onward: These quotas double to 80%, 10%, and 5%, respectively.

To support these changes, Ofcom will develop a VOD Accessibility Code to provide further detail on these requirements. According to Ofcom’s timetable published in early 2024, the draft VOD code, guidance, and accessibility code will be open for consultation in early 2025. The finalised accessibility code is expected to be published between July and September 2025, with interim quotas to be implemented by mid-2026.

Until these quotas take effect, there is no formal obligation for VOD providers to enhance accessibility for viewers with sight loss. Without proactive efforts from providers and other stakeholders, accessibility improvements may be delayed until the mandatory requirements are enforced.

Impact of EAA on hardware accessibility

The European Accessibility Act (EAA) aims to enhance the accessibility of products and services for people with disabilities across the EU. While it does not apply in the UK, where the Equality Act governs accessibility, digital products offered in the EU will still need to meet EAA standards. This is likely to have a positive ripple effect on accessibility practices in the UK. The EAA covers several key categories, including audio-visual media, which focuses on ensuring the accessibility of video content services like streaming platforms, as well as smart TVs and related equipment.

Ofcom’s new guidance on audio description

Ofcom’s new guidance on access services (subtitling, audio description and sign language) focuses on improving the accessibility of TV content for people with sight and/or hearing loss. It outlines updated standards and practices for broadcasters to ensure audio description is consistent, and effectively enhances the viewing experience. The guidance emphasises inclusivity, encouraging broadcasters to make more content accessible and meet the diverse needs of viewers.

DCMS work on the future of Television

The Department for Culture, Media and Sport (DCMS) is looking ahead at whether UK television will migrate from terrestrial delivery (via an aerial) to internet based delivery and considering the benefits, risks and barriers of such a change. RNIB met with DCMS alongside the Royal National Institute of Deaf people (RNID) to discuss the work and will be feeding into the process through our regular catchups with the department.

Awareness of accessible services

This year, Sony partnered with RNIB to spotlight its commitment to accessibility through a series of engaging conversations aired on RNIB Connect Radio. The discussions aimed to raise awareness of Sony’s accessibility features across its products and services, particularly focusing on their benefits for the blind and partially sighted community. Four episodes showcased their efforts to make technology more accessible:

• Overview of Sony’s Accessibility Initiatives with David Williams from Sony Europe
• Accessible Photography featuring the new camera technology
• Latest TV Accessibility Features highlighting innovations in Sony TVs
• Accessible Gaming with Satish Uppuluri from Sony Interactive Entertainment

These conversations reflect Sony’s ongoing collaboration with RNIB to ensure its technologies meet the diverse needs of its users, offering more inclusive experiences in entertainment, photography, and gaming.