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Youtube PreRoll Ads Audio Specs
Old 28th May 2020
  #31
Lives for gear
 

Some of the problem is a result of how the job comes to you, the editor/mixer.

If you are working in TV, you will be hired by a production company most likely to mix the show. If is really the responsibility of the production company to get the correct specs that THEY need in order to delivery properly. Some are good at this, others less so.

In my case, I mostly deliver to one broadcaster, and those specs are clearly laid out. However, when I deliver 'out of house' , especially to different countries, it becomes a mish-mash of specs. That is where this sheet is useful, as it gives me a rough idea if I am at least in the ballpark for what is expected for a geographic area.

Randall


Quote:
Originally Posted by Fredo View Post
Correct me if I am wrong, but if you are mixing for a broadcaster (BBC, Netflix, Technicolor, Arte, ...), then they send you a Technical Specification list, no?
I thought there only was debate about the YouTube specs ...!?

Fredo
Old 29th May 2020
  #32
Lives for gear
 

Quote:
Originally Posted by quadraphonics View Post
To add onto this, this is why things like IMF and automated delivery platforms are really quite useful. You mix once, and then specify the different platforms you need to deliver to. The system formats the audio and video to meet those deliveries.

Randall
Yeah, but then your internal 'master specs' before going to the MAM system have to take into consideration that levels will be altered quite dramatically automatically for creating the different distribution essences.

Either you mix with full dynamics and have an automatic process limit the heck out of it for YT delivery or you mix to a peak level that leaves enough headroom so that an automatic process can just do plain gain-scaling.

You have to die one death any way.
Old 29th May 2020
  #33
Don't worry, everybody uses add blockers on youtube
Old 29th May 2020
  #34
Lives for gear
 

True,

We also have different specs for Long form material than we do for short form/promos. For Promos, we try to keep a middle ground kind of approach. -24LKFS 1770-3/4 +-.5 With an average LU no wider that 7 or 8, peaks at -6. Doesn't always work, but for the majority it is pretty good and translates well in automated loudness systems.



Quote:
Originally Posted by kosmokrator View Post
Yeah, but then your internal 'master specs' before going to the MAM system have to take into consideration that levels will be altered quite dramatically automatically for creating the different distribution essences.

Either you mix with full dynamics and have an automatic process limit the heck out of it for YT delivery or you mix to a peak level that leaves enough headroom so that an automatic process can just do plain gain-scaling.

You have to die one death any way.
Old 29th May 2020
  #35
Lives for gear
 

Quote:
Originally Posted by quadraphonics View Post
True,

We also have different specs for Long form material than we do for short form/promos. For Promos, we try to keep a middle ground kind of approach. -24LKFS 1770-3/4 +-.5 With an average LU no wider that 7 or 8, peaks at -6. Doesn't always work, but for the majority it is pretty good and translates well in automated loudness systems.
We have -23LUFS with -8dBTP as our spec for the same reasons. That way we can easily go to -16 for Web with simple gain scaling.

Different video specs are still a growing problem these days mostly because of different aspect ratios. 16:9, 9:16, 4:5, 1:1
Happy I don’t have to deal with these issues.
Old 29th May 2020
  #36
Lives for gear
 

I hear you about the video ratios. There are automated processes that can go from one raster to another, but they don't handle on screen text well.

We have been creating sub masters for each raster/ratio. I wish we would then use these to automate outputs for all of the versions, but we have some internal work to do before we can make that happen correctly.

Randall


Quote:
Originally Posted by kosmokrator View Post
We have -23LUFS with -8dBTP as our spec for the same reasons. That way we can easily go to -16 for Web with simple gain scaling.

Different video specs are still a growing problem these days mostly because of different aspect ratios. 16:9, 9:16, 4:5, 1:1
Happy I don’t have to deal with these issues.
Old 30th May 2020
  #37
Lives for gear
 

Quote:
Originally Posted by kosmokrator View Post
We have -23LUFS with -8dBTP as our spec for the same reasons. That way we can easily go to -16 for Web with simple gain scaling.
That's actually a pretty smart idea, especially if you're in a hurry or aren't sure what might happen to the audio once it's delivered. But when I know something is headed both for broadcast and Internet, I prefer to do two mixes myself to keep the wider dynamic range of the broadcast mix.
Old 4 weeks ago
  #38
Lives for gear
 

Quote:
Originally Posted by seanmccoy View Post
That's actually a pretty smart idea, especially if you're in a hurry or aren't sure what might happen to the audio once it's delivered. But when I know something is headed both for broadcast and Internet, I prefer to do two mixes myself to keep the wider dynamic range of the broadcast mix.
[AudioEngineerHatON] Well, I'd like to do that as well!

[HeadOfAudioHatON] no one pays for that, not even inhouse clients. Not even mentioned that this creates another layer of complexity in a MAM system and for all workflows downstream. F.e. two times real-time QC because of different peak levels? The Head of QA will kill me :-)

[ConsumerHatON] TV mixes these days are way more often too dynamic than too squashed anyways IMO
Old 4 weeks ago
  #39
Lives for gear
 

I had a little FB chat with Freddy, who wrote the Nugen article about loudness, since I noticed a discrepancy between the Youtube specs there and on the RTW page. Here the pertinent excerpt:

I've looked into this, and it appears that YouTube changed their loudness target to -14 LUFS sometime around September last year. That change passed me by at the time, but I have advised our dev team, and they will be updating the YouTube preset in MasterCheck as soon as possible.
Previously, YouTube didn't actually use an LUFS target for their loudness normalisation. Their old process was a little bit different (and, honestly, quite inconsistent), but we found that -13 LUFS was as close an approximation of their loudness target as we were able to get.
Anyway, I digress. YouTube is now using an LUFS target, and as you've rightly pointed out, the target is -14!
Old 4 weeks ago
  #40
Here for the gear
 

MasterCheck

Hi, for anyone who's confused with the new specs for YouTube and uses MasterCheck, as a heads up, we are currently doing a product update with the new Youtube specifications and will be providing a preset to match this.

Quote:
Originally Posted by seanmccoy View Post
Interestingly, Nugen Audio posted an article about loudness today, and here's a pertinent excerpt:

Spotify, Apple Music, YouTube and other similar streaming services also have targets for loudness (-14, -16 and -13 respectively, for those mentioned), but the audio is normalised after submission. Essentially this means you can submit audio which is as loud or as quiet as you like, as long as you keep in mind that loudness normalisation and the encoding process will almost certainly affect how it sounds!

So according to Nugen, who probably is privy to some inside info on how these networks operate, YouTube's number is -13 integrated, and they will process audio to -13 regardless of what you submit. Who to believe?

We really need an internationally recognized central location for every broadcast and streaming network to publish and update their specs and their processes.
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