Mastering for Film?

Tibbon · 24th April 2006

How much mastering goes into Post/Film work? I'm doing student films now, and I prefer not to master my own music stuff, but how does this normally go for film? Is the mastering mainly at the mixing stage (basically little to no mastering?)

I think i'm going to set up my room for the "K-system" of metering, but I'm still never sure of exactly how loud (i'm sure i'll learn) to make most film things overall. Much testing and listening will be needed i'm sure.

Any tips on the final stages and loudness of film stuff?

SnakeCained · 24th April 2006

In my experience levels are quite low (-18dbfs) as things always get Dolby'ed and thats done by their own engineers at a "cost".

US cinemas are a lot louder than UK/Eu probaly due to some sillly directive from our friends in Brussels.

Bob Olhsson · 24th April 2006

Films are "print mastered" from stems on dubbing stages for a variety of release formats. The sound pressure level vs. audio level and the frequency response of theaters and dubbing stages are held to close tolerances so a director can control the audience's experience as closely as possible. Dubbing stages also have full size screens because picture size can make a huge difference in how the sound impacts an audience.

Ruudman · 24th April 2006

Quote:

Originally Posted by SnakeCained

US cinemas are a lot louder than UK/Eu probaly due to some sillly directive from our friends in Brussels.

Pleased to hear that Europe is leading the way

ruudman
Official Representative for BBD - Bring Back Dynamics

phelbin · 25th April 2006

Quote:

Originally Posted by Bob Olhsson

Films are "print mastered" from stems on dubbing stages for a variety of release formats. The sound pressure level vs. audio level and the frequency response of theaters and dubbing stages are held to close tolerances so a director can control the audience's experience as closely as possible. Dubbing stages also have full size screens because picture size can make a huge difference in how the sound impacts an audience.

So, the mixing engineer mixes down to stems. Then, the director and a mastering engineer do what we'd consider a mastering job while watching the film on a full screen. Is that right?

Tibbon · 25th April 2006

Quote:

Originally Posted by phelbin

So, the mixing engineer mixes down to stems. Then, the director and a mastering engineer do what we'd consider a mastering job while watching the film on a full screen. Is that right?

And is this fairly standard for low-budget films, or should I just hand them a WAV file?

Bob Olhsson · 25th April 2006

If it's going in theaters, it really ought to be mixed on a dubbing stage. The lead mixer often does the print mastering. Prints cost lots of money so it's taking a pretty big financial risk to not mix on a stage. You can save time on the stage by premixing elsewhere.

BruceTheProduce · 25th April 2006

Quote:

Originally Posted by Tibbon

And is this fairly standard for low-budget films, or should I just hand them a WAV file?

Well, I did that on my last project. I gave the director a 48 K wave file

Jazzpunk · 25th April 2006

Hi Tibbon, Are you scoring student films? Music at the network or film level has already been mastered. As a mixer we are eqing and mixing levels of music around dialogue effects etc. but the mastering of the actual music has already been done.

24th April 2006	#1
Tibbon Lives for gear Joined: Jul 2004 Location: Boston/MA Posts: 4,780 Thread Starter 2 Reviews written	Mastering for Film? How much mastering goes into Post/Film work? I'm doing student films now, and I prefer not to master my own music stuff, but how does this normally go for film? Is the mastering mainly at the mixing stage (basically little to no mastering?) I think i'm going to set up my room for the "K-system" of metering, but I'm still never sure of exactly how loud (i'm sure i'll learn) to make most film things overall. Much testing and listening will be needed i'm sure. Any tips on the final stages and loudness of film stuff?

24th April 2006	#3
Bob Olhsson Motown legend Joined: Jun 2002 Location: Songwriter Gulch, Nashville TN Posts: 10,878	Films are "print mastered" from stems on dubbing stages for a variety of release formats. The sound pressure level vs. audio level and the frequency response of theaters and dubbing stages are held to close tolerances so a director can control the audience's experience as closely as possible. Dubbing stages also have full size screens because picture size can make a huge difference in how the sound impacts an audience. __________________ Bob's room 615 562-4346 Georgetown Masters 615 254-3233 Music Industry 2.0 Interview

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24th April 2006	#2
SnakeCained Lives for gear Joined: Apr 2004 Location: LONDON Posts: 662	In my experience levels are quite low (-18dbfs) as things always get Dolby'ed and thats done by their own engineers at a "cost". US cinemas are a lot louder than UK/Eu probaly due to some sillly directive from our friends in Brussels.

25th April 2006	#7
Bob Olhsson Motown legend Joined: Jun 2002 Location: Songwriter Gulch, Nashville TN Posts: 10,878	If it's going in theaters, it really ought to be mixed on a dubbing stage. The lead mixer often does the print mastering. Prints cost lots of money so it's taking a pretty big financial risk to not mix on a stage. You can save time on the stage by premixing elsewhere.

25th April 2006	#9
Jazzpunk Lives for gear Joined: Mar 2006 Location: Los Angeles Posts: 2,781	Hi Tibbon, Are you scoring student films? Music at the network or film level has already been mastered. As a mixer we are eqing and mixing levels of music around dialogue effects etc. but the mastering of the actual music has already been done.