Sound Mixing for Film, Loudness

[@zodstube]

It is always great to see you TOM.

[@LouieTaylorMusic]

This is a great insight and certainly doesn't seem to be common knowledge, but instead learned through industry experience or if you're lucky, someone like yourself. So, thank you for sharing, this is a big help.

[@diegooliveirabenjamin]

Thank you

[@SonicStates]

Very clear! Thank you.

[@camielpovel6290]

Just to be clear in the EU the target for standard broadcasting stuff is -23 lufs with a +- 0.5 lufs allowed deviation. Check your broadcast organisations' specs!

[@zenpoolzone]

You answered my question. Thanks.

[@skanda.skanda]

Thank you Mr Efinger. Would appreciate a video on dubbing dialogue for film, with dynamic and condenser mics. Warm regards.

[@zrsound]

Thanks Tom! Thank you for taking the time to share your knowledge with this community. One note, and please correct me if I am mistaken. I believe at 2:41 you switched the loudness specs with regard to film vs TV and streaming. I believe you meant to say: - 24 LUFS +/- 2 for theatrical - 27 LUFS +/- 2 for TV and streaming Thanks again.

[@tomefinger]

Hey, I appreciate you looking out, but that is what I meant to say. -24 is for TV and streaming and -27 is for theatrical. The outlier is Netflix, which asks for their streaming files at -27 theatrical spec. All this really means is that there is 3 more dB headroom at -27, so the loudest stuff can be up to 3dB louder.

[@zrsound]

@@tomefinger Thank you so much for the insight! This makes complete sense and I stand corrected. Once again, thank you for the information. This is super awesome.

[@neuuyear]

Hello…In Film should we go for TV/streaming LUFs,cuz we gonna premiere it on theater but gonna put out the film in streaming Platform… Any advice?

[@tomefinger]

@@neuuyear I generally like to mix at DTV or streaming spec at -24 LUFS. Then for the theatrical DCP file, I lower the 5.1 mix file 3dB to -27. The surround channels should stay up though, as theaters calibrate their surrounds 3dB down. I know it's a little crazy to sort out. So, you should lower the LCR and LFE channels 3dB and leave the surrounds at the same level. I do this with clip gain, and then render the gain changes to the files. (Advanced Tip: if you change the LS and RS channels .1dB, which is barely anything, then they can be rendered with the LCR and LFE as a group and not mess up the initial -24 LUFS 5.1 mix file group.)

[@neuuyear]

@ thankss 🔥🔥

[@Tyrell_Corp2019]

Clear and direct. Thank you sir. Subscribed!

[@guy_incognito]

Thank you! Very helpful!

[@hristodobrev5358]

Thanks Tom!

[@SitinprettyProductions]

Thanks for the video. What would you do when you scan it and it's over? Would you just turn down the gain for each track? Is there a button you could press to lower the entire thing (namely, in Premiere Pro)?

[@chrissinclair3136]

It's got beyond a joke...last night a theatre played a movie I mixed at Dolby 4.2. Wasn't a loud film, a documentary.... once upon a time you were forced to print master at fader 7 regardless of what level you mixed at..

[@katashi-j1t]

-27 LUFS in dialoge?

[@tomefinger]

It's a reading for the whole mix not just dialogue. When we first started using Loudness Metering, there was something called Dialogue Norm, and it read the dialogue levels, but now we are concerned with the reading on the whole mix.