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Old 17th November 2015
  #211
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Loudness white paper by Thomas Lund TC Electronic A/S Risskov, Denmark

Abstract - For five years, the author has systematically studied audio capabilities of Pod and Mobile TV devices from Apple, Nokia, Samsung and Sony Ericsson. This paper is the first public report from parts of the test investigating what a Mobile user is able to hear, and what she can't. Taking test results and perceptual criteria into account, guidelines are given for optimum station handling of programs for Mobile devices. Furthermore, the paper presents a transparent and codec-agnostic audio path from HDTV to multiple personal platforms, attaining the goal without a need for "sausage processing". The techniques described aim at high audio quality, based entirely on open standards and a low station workload.

LINK: http://www.tcelectronic.com/media/20...paper-2013.pdf


cheers
geo
Old 17th November 2015
  #212
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White Paper concerning: The CALM Act and Cross-platform Broadcast Thomas Lund TC Electronic A/S Risskov, Denmark

Abstract – The ITU-R BS.1770-2 recommendation specifies a method of measuring Program Loudness and aims at aligning loudness levels across programs of various genres
as well as commercials; a distinct improvement over an earlier idea of controlling loudness based merely on the level of speech. Because of the CALM Act, speech-centrism was also given up in ATSC A/85. This paper details the Loop spanning from production to multi-platform delivery that paves the way for high-quality audio across genres, across platforms, around the globe. Optimized normalization for Apple iPod and iPhone devices is reported, and the ongoing NoTube project is described. Finally, the paper
explains True-peak measurement, a complementary part of new loudness standards, and novel ways of using Truepeak assessment to prevent down-mix overload in the AC3 codec.


link: http://www.tcelectronic.com/media/10...ors-aes127.pdf
Old 18th January 2016
  #213
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Great thread with tons of excellent information. I could spend days reading here! Thanks Geo
Old 18th February 2016
  #214
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Old 19th February 2016
  #215
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Thanks for sharing this Georgia!! So.......what reference signal do you use??? To tune my small mix/edit room so that I can do halfway decent FX pre-mixes prior to hitting the mix stage I've been using the Dolby Pink from The Dub Stage's website, which seems to me to be the -20dBfs DMU Pink Noise - correct me if I'm wrong though, Marti?

Anyway, super cool read.

-Isaac
Old 20th April 2016
  #216
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Old 14th May 2016
  #217
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Old 15th May 2016
  #218
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Old 18th May 2016
  #219
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Old 31st May 2016
  #220
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asked about mixing on bass managed speakers. IMHO, i never recommend mixing with bass management... but its not a show stopper... just make sure you are careful with the LFE channel material and the low freq material being sent to the sub from the other channels... the important thing is to be careful that you don't send the same material from both. for instance if you want to put a little punch in an explosion and you boost the bass in the L and R channels then route that as well to the LFE channel via a bus and then thru a filter to feed the LFE channel you may end up with phase issues and potential phase add / subtract / cancellation occurring... if you are careful with that issue, mixing on bass managed speakers isn't the end of the world.
Old 6th June 2016
  #221
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Quote:
Originally Posted by georgia View Post
Raid 5
Raid 5 uses block level striping and distributed parity. This level tries to remove the bottleneck of the dedicated parity drive. With the use of a distributed parity algorithm, this level writes the data and parity data across all the drives. Basically, the blocks of data are used to create the parity blocks which are then stored across the array. This removes the bottleneck of writing to just one parity drive. However, the parity information still has to be calculated and written whenever a write occurs, so the slowdown involved with that still applies. The fault tolerance is maintained by separating the parity information for a block from the actual data block. This way when one drive goes, all the data on that drive can be rebuilt from the data on the other drives. Recovery is more complicated than usual because of the distributed nature of the parity. Just as in Raid 4, the stripe size can be changed to suit the needs of the application. Also, using a hardware controller is probably the more practical solution. Raid 5 is one of the most popular Raid levels being used today. It appears to be the best combination of performance, redundancy, and storage efficiency.
Hello. :-)
I like your breakdown in regards to different Raid levels, but to note.. Raid levels 2, 3 and 4 are not really used anymore. Your most common is Raid 5, followed by Raid 0 and Raid 1. In larger enterprise environments, Raid 6 and your nested Raid levels ( 0+1 and 1+0 ).

It may be a good thing to add, is you need at least 3 working hard drives to have a functional Raid-5 array. For example, if you have 5 hard drives in your array, and then lose 3 of them you will not be able to rebuild the array by installing new hard drives as it takes 3 working drives to be able to rebuild the entire array.
Old 6th June 2016
  #222
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thanks for that update.

cheers
geo
Old 1st July 2016
  #223
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Hi Georgia, I have a question about mixing gunshot/explosion/punch etc. in film mixing. Usually those SFX I find in sfx libraries are well recorded. But most of them don't leave so much headroom, most of them are nearly clipped. So during mixing, what can I do to make those SFX louder? Some told me that using compression. But I don't really quite understand about this. I hope that you can kindly give me some suggestions about this issue.
Old 3rd July 2016
  #224
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Hi,


What I do, and what has been offered in other posts by some great mixers on Gearslutz offers...

Making these "louder" depends a lot on the overall level of the mix around them. You can only make them as loud as the loudest moment in the mix. pretty much 0db. What I would recommend is to make them "feel" louder you can try first, making sure the rest of your mix has enough head room to allow for those "big" moments. Second, don't make a lot of competing sound elements occur that 'blur' the moment. Make sure you use multiple sounds to create that single sound of the explosion or gun shot. Use the nice deep throated basic sound, add a punchy fast impact layer, Include a little and tight sub woofer impact to the LFE channel, make sure you are balancing for the best impact. don't let everything else like music, ambience and other effects overrun the moment. or levels, save the loudest level you are going to use for the most dramatic moments. Use contrast to create the feeling/impression of volume and power.

Quote:
Originally Posted by ggegan View Post
Remember that there will probably be a lot of loud music, so reverb may be a waste of time. I limit the food groups at -3FS and then keep a close eye on the kickdowns to make sure I don't hit them too hard. If there are a lot of guns, I usually don't spread them because discrete panning helps the audience identify who is shooting. I save the spreading for extreme closeups of the guns. I pan everything I can, especially riccos flying into the surrounds. Don't forget the shell casings for automatics.For levels, save the loudest level you are going to use for the most dramatic moment and back everything off from there. Contrast creates the impression of volume and power, so look for opportunities to back off the level whenever you can, especially leading up to a dramatic moment so you have somewhere to go without crossing the pain threshold. You don't have to get super loud if the sounds are compelling enough.
here's a link to a topic on mixing guns in film: https://www.gearslutz.com/board/post...xing-tips.html

cheers
geo
Old 14th October 2016
  #225
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Hi Georgia, thanks for all the great info here. Sorry if you already posted about this, but what are some key things to know about doing ADR? I'm strictly a music engineer and I just got a gig to do ADR for a potential big time client. I'm a Protools wiz and track vocals almost daily, but I'm just not familiar with Film/TV jargon and technical protocols. Also we'll be patched in with the Producer through ISDN. Obviously I want to make a great impression so I'm trying to do my homework before the session.

I first thought I'd make a separate track for each line of dialog and playlist each take. Is there a more common approach? Also would I be expected to edit and vocalign to get the final takes or would that be done by whoever I send the files to? And what file types would I be sending off?

I'm sure this is a common situation for guys crossing over from music, but any info would be greatly appreciated. Thanks!
Old 15th October 2016
  #227
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Old 3rd November 2016
  #228
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Hi Georgia, thanks for all the great info here. I have searched but did not found an answer to my question. I have mixed a TV commercials on Spec at -24 LKFS here in Canada. My client wasn't happy with the loudness compared to other commercials when it aired. I must say my mix seem quieter than other commercials. I was wondering, when the specs says +/- 2 LU, does it mean other might deliver mixes that are actually -22 LKFS?

Thank you very much
Old 4th November 2016
  #229
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I'm afraid this kinda comes directly from loudness issues and the CALM ACT.
https://www.fcc.gov/media/policy/loud-commercials
First off, your mix might meet spec, but all the others don't. It could also be your average "loudness" is an issue due to peaks in the program. Additionally, if you are delivering tones for level calibration make sure those are accurate. ( normally -20 for the states and -18 internationally , but check the spec document you are delivering to. ) -24 LKFS is a rather normal delivery level. note: there is effectively no difference between LKFS and LUFS.
LUFS (Loudness Units, relative to digital Full Scale)
LKFS measurements (Loudness, K-weighted, relative to nominal full-scale)
so you might be able to tweak things and grab a db or 2.
Here's an interesting read on dealing with meters and settting things up correctly. http://transom.org/2015/the-audio-pr...e-to-loudness/
cheers
geo
Old 13th February 2017
  #230
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Hi Georgia, thank you for taking the time to post all this great info and sharing your knowledge and experience. I'm a indie filmmaker in post on a horror short film destined (I hope) for theatrical (festival) release and, knowing the importance of sound in film, I've spent quite a bit of time on the 5.1 soundtrack.

I have 5x JBL LSR6325Ps and a JBL LSR6312SP sub, with bass management, including a separate LFE input that I can boost +10 dB independently (at the sub). I've aligned my small room, calibrated the monitors to 85 dBC (-20 dBFS), and have a surround mix I'm pretty happy with. I've been reading this thread with great interests, and ran across this comment on Page 1:

Quote:
If you have a subwoofer system similar to Genelec make sure that you either bypass the filter in the Genelec or mute the bass re-direction from the software. If you don’t you will run the risk of sending low frequencies to the sub from different sources, potentially out of phase.
I now think that I may be causing myself some problems with some of my mix. I have many low frequency drones throughout my movie as well as several short low frequency booms or hits (some of which have mid, and high freq content as well). I have a separate LFE buss that is low pass filtered (8th-order) at 120 Hz that is the only source of my 0.1 LFE track. I recently added a dedicated track for some additional 'low end' that routes directly to the LFE buss only. However, prior to that, I had several tracks that contain stereo low frequency drones and hits (routed to the L/R channels) that also have sends to the LFE buss as well. Based upon your comment above, I'm thinking that the additional sends to the LFE buss may cause some phasing issues within the theater if I have the same frequencies coming from both the L/R and mono LFE at the same time.

So, I guess my question is this: is sending part of a full range L/R signal to the LFE a bad idea (unless I filter it out of the L/R first - like bass management does)? If so, shouldn't I just send the full signals to the full range L/R (in theater) and NOT send a copy to the LFE? If I want additional low end, I should either turn up the L/R tracks a bit, or add additional low end content on the dedicated LFE track?

EDIT: I followed the above line of thinking ('sending' to the LFE) because of a comment I remember in my readings to never put anything in the LFE that is important to the story, since it is easy to get lost. So I was just covering my bases by splitting it across the L/R and LFE. In my story, the LFE content is important.

EDIT#2: I found my answer in Post #194 and Post #220 on this Thread! You ROCK Geo!

Any advice would be greatly appreciated.

Cheers,
Shane

Last edited by GrizzlyAK; 13th February 2017 at 01:24 AM.. Reason: more thoughts
Old 15th February 2017
  #231
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sounds like you sorted it out. But feel free to email mttfgeo@gmail.com if you have any off line questions.


cheers
geo
Old 20th August 2017
  #232
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Hi Georgia,

Dear georgia ,

Hi , I am a mixing engineer from HK. I read quite a lot of your posts and learn a lot.Thank u
I wants to having your advice about the following:


01. If i import a movie (Quicktime movie or Mp4) and its audio into a pro tools sessions , is audio already sample accurate Sync to movie ( everything same as Movie itself) ?

02. If NO, is there any standard steps that i need to do ( like shift forward or backward a suggested length in frames or samples )

Many Thanks!!!

Wai
regards
Old 20th August 2017
  #233
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yes. audio and video from an imported quick time movie ( assuming the session is setup correctly, and the QT movie is created correctly ) will be in sync.

cheers
geo
Old 20th August 2017
  #234
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Thanks a lot ,Georgia....That is great that you give me the answer..

wai
cheers
Old 6 days ago
  #235
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Hi Georgia, thanks for your great reply. I have faced a question wehen adding watermarks on video for production.
When I add a watermark on a mp4 (h264 ) ,trans code to .mov , the video length is no change.
But when I adding one more watermark on the .mov(the one just added watermark) ,the .mov adding one frame at top and total length become 1 frame longer.
Do you have any suggestion on that? much appreciated.

wai
regards
Old 5 days ago
  #236
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sorry , honestly no idea... sounds like the watermark creation added started at frame zero instead of Frame 1 or something... sounds like a question for support at quicktime or whatever s/w you used...
Old 5 days ago
  #237
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Thanks anyway, Georgia!
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