Start with this article written for iZotope's blog by a couple audio post guys. It's from 2018 and I didn't read it super carefully, but I think it'll help frame the issues and draw some connections between CALM, 1770, LUFS, and the different measurements you get with dialog, a whole mix, and an action show.
The Mixer's Guide to Loudness for Broadcast
https://www.izotope.com/en/learn/the-mixers-guide-to-loudness-for-broadcast.htmlNow dig into the Audio Engineering Society's basic guides to loudness. Put together by the AES Technical Committee for Broadcast and Online Delivery. Set aside a bit of time (say, an hour) to get through this. The Basics section has several "Learn More" links that are worth exploring. And the Resources page has a lot of documents. But this is good stuff.
Loudness Project
Then maybe come back to iZotope's educational info. Ya, it's soft marketing for their products, but there's some good info in here. Read the bit on True Peak, and anything else that looks interesting:
Loudness Tips & Tutorials
Finally, check out Netflix's sound mix and best-practices document. It's pretty readable and the best practices section is helpful.
After all that, decide if you really want to know more or if you're glad your audio-post pals have a handle on all this. If you do want to know more, Google around…. You'll probably now be able to separate the wheat from the chaff and make reasonable sense of current various specs.
It's not that tough to figure to with modern tools, especially if you only need an audio-aware editor's or producer's level of knowledge (ie- I have a pretty good audio background and current-level of experience; I'll deliver to YT and corporate. But I depend on full-on audio post people for anything more critical and complex).
HTH,
Jim
On Aug 22, 2023, at 8:26 PM, John Moore <bigfish@pacbell.net> wrote:
[Edited Message Follows]
So IIRC there were specs early on that had news at -20, entertainment at -24 and Action movies at -27. I thought those were the dialogue norm suggestions for the different types of programming. I hadn't taken into account that was proprietary to Dolby Encodes. My receiver at home reads out the dialogue norm when changing channels. So it sounds like these numbers were what Dolby was suggesting to flag the different types of content's metadata. The way I had heard it was a way of keeping dialogue levels similar between the different types of programming. Clearly I was not understanding the separation of dialogue norm specs and actual loudness measurements. There was a lot of misinformation out that I gobbled up.
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