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Mastering and Delivering a Finished Soundtrack. Mastering Playback Environment The mastering process in post production is largely driven by the environment.

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Presentation on theme: "Mastering and Delivering a Finished Soundtrack. Mastering Playback Environment The mastering process in post production is largely driven by the environment."— Presentation transcript:

1 Mastering and Delivering a Finished Soundtrack

2 Mastering Playback Environment The mastering process in post production is largely driven by the environment in which the media will be played. 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.

3 Mastering Playback Environment 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.

4 Mastering Playback Environment 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. 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

5 Mastering Playback Environment \ 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. Most broadcasters have set this level to be -24LKFS +/- 2db.

6 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.

7 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.

8 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 Leq(a) Leq(m) Average Peaks -27 to -31 -31 to -35 77 to 82 NA Note that films are typically mastered at lower volumes.

9 Mastering Comparing Levels DVD Levels are comparable to Theatrical film levels though the X-curve is not used in the mixing or mastering process.

10 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.

11 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.

12 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

13 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

14 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.

15 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

16 Mastering Deliverables Multiple Mixes -Stem/Split outputs -Fully filled M&E -Multiple Frame Rates -Master Tapes and Protection Masters

17 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

18 Mastering Final Steps Delivery Tech Evaluation Backing up

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