Transcript Introduction to the Soundtrack

Mastering and Delivering a
Finished Soundtrack
Mastering
Playback Environment
The mastering process in post production is largely driven by
the environment in which the media will be played.
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The final level at which we deliver the final soundtrack differs
greatly between medium.
Theatrical film level is determined by mastering in a properly
calibrated theatre. This process is called Printmastering and
requires specific equipment and often specifically certified
personnel for the destination format, examples: DTS, Dolby
(SR-D and SR(LtRt)), and SDDS.
Mastering
Playback Environment
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Commercials and trailers playing in theatres are governed
under a different set of of rules designed to help prevent
loudness competition between short form playback media.
Mastering
Playback Environment
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This standard is measured using dbLeq(m). This long term
waited measurement takes into account frequency ranges that
are considered to be more irritating to audiences when played
at high volumes; notably mid and high frequencies.
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For commercial content 82 dbLeq(m) is the limit
For trailer content 85 dbLeq(m) is the limit
Part of the Printmastering process is certifying that the mix adheres to
these rules through specific metering hardware
Mastering
Playback Environment
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For broadcast television the measurement currently in practice
is LKFS. This is a long term weighted average loudness
measurement as well, and is often referenced to dialogue
levels.
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Most broadcasters have set this level to be -24LKFS +/- 2db.
Mastering
Playback Environment
By using average loudness levels content producers are given
greater dynamic range capabilities than in the past while
creating a more consistent listening experience for viewers.
Mastering
Comparing Levels
While there is not an exact translation to the Leq(a) meter
function of the phase scope in Pro Tools, we can get a rough
estimate through the following chart.
Broadcast Television, and Theatrical Commercials and
Trailers
LKFS
Leq(a)
Leq(m)
Average Peaks
-24
-29 to -31
82 to 85
-8 to -4
Some broadcasters restrict maximum peak level to -10, in
which case a limiter must be used.
Mastering
Comparing Levels
Note the similarity in levels between broadcast television and
Theatrical trailers and commercials.
Films usually sit in this range though they are not required to.
The studio must also be calibrated using the x-curve.
LKFS
-27 to -31
Leq(a)
-31 to -35
Leq(m)
77 to 82
Average Peaks
NA
Note that films are typically mastered at lower volumes.
Mastering
Comparing Levels
DVD Levels are comparable to Theatrical film levels though
the X-curve is not used in the mixing or mastering process.
Mastering
Comparing Levels
Material destined for internet playback can often be normalized
or mastered to -.1dbfs.
Care should be given when doing this as certain mixes are
capable of distorting computer speakers at this volume. Most
notably highly compressed or bass heavy mixes.
Mastering
PrintMastering
With the exception of DCP. The actual process of
Printmastering is centered around the final encoding of the
sound track to its finished format.
Assuming the project was mixed properly this process can
typically take about 2.5 to 3 times the length of the project.
The process is costly and includes the respective license to
use the Printmastered brand in your credits, example, SDDS
DTS and Dolby.
Mastering
DCP
The DCP or Digital Cinema Package. Is a digital copy of film played
from a Theatre’s computer server.
This method of playback is becoming enormously popular and is an
accepted format for Academy Award Nomination
Mastering
PrintMastering
During this process the folddown is also created. This
generates which is often referred to as the LtRt mix which
stands for Left total Right total.
- Demo
Mastering
Our Mix
In film it is considered proper etiquette to leave your master
bus untouched.
In this medium it is important that your stems combine exactly
to the full mix.
In other applications limiters, compression and eq are
sometimes used on the master though their use should be
light. Excessive use can cause playback issues in certain
systems.
Mastering
Various Formats
Theatrical
- SDDS (7.1)
- Dolby (SR, SR-D, 5.1 7.1)
- DTS (5.1 6.1)
- DCP Uncompressed up to 12 channels (MXF format)
Broadcast
-Dolby Digital
-Stereo PCM
Internet
-PCM
-AC3
-AAC
Mastering
Deliverables
Multiple Mixes
-Stem/Split outputs
-Fully filled M&E
-Multiple Frame Rates
-Master Tapes and Protection Masters
Mastering
Mix Translation
Playback Chain and how it effects our mixes
Program Optimizers
Dolby DP600
Linear Acoustics
Upmixing
Data Compression
Mixing through encoders
Theatre Acoustics
Mastering
Final Steps
Delivery
Tech Evaluation
Backing up