Just want to say this is an incredibly generous resource and I have reffered to it quite a lot in my journey to learn mixing. Thank you Thank you Thank you!
+Leisure - well, this particular example was exactly -24dBFS to start and the same to finish, after processing. So, that means 'average', not peak. For this comparison, which is a legal TV signal, it is hotter with the peaks. The next step is to mix the dialogue in with the soundtrack elements, with the dialogue sitting, on average, around -27dBFS, but the peaks can sometimes reach -12 or even -10. Transients can be that loud cthey are very fast, but the average should be between -20 and -30, which when measured with the Orban Loudness Meter, will end up at -27dBFS.
Work as a sound designer at a local television company, and recently there was some doubt about the technical specifications about the levels of a movie mix ... is there protocol or any reference to the loudness levels of a movie mix?
Yes, below are a couple of previous video links in this series, but before that... ...there are guidelines for a film mix, but no official protocols. Some films I have measured have the regular dialogue mixed below -30dBFS (and LKFS) and loudest sound FX to -2dBFS. To me, that is wayyyy too dynamic for anything but the best cinema auditorium, BUT won't be great on TV. By 'regular dialogue', I mean no screaming scenes and no special character effects on the voices, just dialogue-driven scenes which are mostly quiet, aside from speaking. The 'reference' would be sending -20dBLKFS pink noise through a set of monitors, set the front speakers to 85dBC, and the surrounds to 82dBC. Once the monitors are set to that, then the mix takes place by ear, but roughly correlating with the master bus level display. What I'm finding is that mixers, or directors or producers, etc, are wanting way more dynamic range that needed for a good soundtrack. Let me know if this helps....cheers! th-cam.com/video/lf5it1yEmLI/w-d-xo.html th-cam.com/video/ft13z53P0ks/w-d-xo.html
Thank you for your reply, my friend. Here in Brazil we adopted the EBU R-128 protocol in broadcasting, with average in -23 LUFS (entire post-production content average), peaks in -3Db and dynamic range in maximum 15Db of variation. From what I understand, a lot is due to the content of each movie, correct? So an action movie can have a much larger dynamic range than a romance movie, correct?
Yes, you are correct. And R-128 is more European, but I like that protocol. I actually aim for -22 for my videos. For my films, more like -27LKFS (or LUFS with the noise gate, but pretty close to the same). I can get this with my EQ curve I use. The reason I like -22 is because the North American LKFS is -24 +/- 2 dB, so I aim for a little louder but with the D-curve EQ. Cheers!
i've just found your channel... you've helped me a lot, i really like the D-curve EQ, does it work with both male and female voices? or you make some changes depending the situation?? thanks a lot...
Just want to say this is an incredibly generous resource and I have reffered to it quite a lot in my journey to learn mixing. Thank you Thank you Thank you!
I didn't get a chance til now to say thank you for your comment! Cheers!
how to remove actor voice and keep background noise in movies scenes please tell me
I've never done that, sorry. I would just re-create the entire scene with sound.
my understanding was that you mix dialog to between -30 and -20, why are you now pushing the dialog upto nearly 0db with compressors and eq'ing?
+Leisure - well, this particular example was exactly -24dBFS to start and the same to finish, after processing. So, that means 'average', not peak. For this comparison, which is a legal TV signal, it is hotter with the peaks. The next step is to mix the dialogue in with the soundtrack elements, with the dialogue sitting, on average, around -27dBFS, but the peaks can sometimes reach -12 or even -10. Transients can be that loud cthey are very fast, but the average should be between -20 and -30, which when measured with the Orban Loudness Meter, will end up at -27dBFS.
So is it -30 to -20dBFS Peak or RMS? (Im talking about film mixing)
+Leisure - RMS.....peak values are totally dependent on how much compression, EQ and volume automation one uses
That is great Thank you . .
Do you know if its possible to make dialogs recorded indoor sound like they are outdoor?
Work as a sound designer at a local television company, and recently there was some doubt about the technical specifications about the levels of a movie mix ... is there protocol or any reference to the loudness levels of a movie mix?
Yes, below are a couple of previous video links in this series, but before that...
...there are guidelines for a film mix, but no official protocols. Some films I have measured have the regular dialogue mixed below -30dBFS (and LKFS) and loudest sound FX to -2dBFS. To me, that is wayyyy too dynamic for anything but the best cinema auditorium, BUT won't be great on TV.
By 'regular dialogue', I mean no screaming scenes and no special character effects on the voices, just dialogue-driven scenes which are mostly quiet, aside from speaking.
The 'reference' would be sending -20dBLKFS pink noise through a set of monitors, set the front speakers to 85dBC, and the surrounds to 82dBC. Once the monitors are set to that, then the mix takes place by ear, but roughly correlating with the master bus level display.
What I'm finding is that mixers, or directors or producers, etc, are wanting way more dynamic range that needed for a good soundtrack. Let me know if this helps....cheers!
th-cam.com/video/lf5it1yEmLI/w-d-xo.html
th-cam.com/video/ft13z53P0ks/w-d-xo.html
One more link to help clarify... th-cam.com/video/Rcn1sMFiCOE/w-d-xo.html
Thank you for your reply, my friend. Here in Brazil we adopted the EBU R-128 protocol in broadcasting, with average in -23 LUFS (entire post-production content average), peaks in -3Db and dynamic range in maximum 15Db of variation. From what I understand, a lot is due to the content of each movie, correct? So an action movie can have a much larger dynamic range than a romance movie, correct?
Yes, you are correct. And R-128 is more European, but I like that protocol. I actually aim for -22 for my videos. For my films, more like -27LKFS (or LUFS with the noise gate, but pretty close to the same). I can get this with my EQ curve I use. The reason I like -22 is because the North American LKFS is -24 +/- 2 dB, so I aim for a little louder but with the D-curve EQ. Cheers!
thanks my friend. Cheers !!!
i've just found your channel... you've helped me a lot, i really like the D-curve EQ, does it work with both male and female voices? or you make some changes depending the situation?? thanks a lot...
Yes, I 'sweep' the low-mid scoop to adjust for different voices, but really just a slight nudge. Thanks for the comment!!