Terry,
Job is right on almost all points.
This thing can find places where there is either a momentary peak that is
too high (momentary means 400 Msecs), or Short peaks (short means 3 seconds)
This is BEFORE bringing the entire mix up or down to -24 LUFS (-23 for
Europe).
Since the peaks are relative to the current loudness, it does not make a
difference if you measure before or after.
What is slightly more complicated as i initially thought (after analyzing a
couple of long form pieces), and hence i disagree with Job a bit,
Short peaks happen more than i would think. Especially if a mix is
compressed, the Short peaks can occur even if you're 2 dB below our
trusted -9.
On an uncompressed mix its way less likely to let this happen, even if you
go over -9.
For the legalizer part, yes, it does 'legalize', but only the Integreated
Loudness (the overall measured loudness).
This is NOTHING MORE than lowering / upping the entire mix!
In theory it's possible to let this thing mix down the peaks, but i don't
trust a machine to do this.
(and it's very easy to go back, fix it yourself and try again. If you have
the feedback on a problem and the TC, you'll probably hear what the specs
are bitching about..)
But it's getting more complicated for the US.
A bit out of the FOX specs:
---------
>>Fox requires that commercial material have a subjective loudness of -24
>>LKFS
<snip>
>>The FNC/FBN target subjective loudness level is -24 LKFS.
>>Instantaneous true audio peaks shall not exceed -2dBFS (BS.1771),
>>while average peak audio levels should not exceed -8dBFS (EBU Tech 3205 or
>>equivalent).
---------
First, LKFS is (about) the same as LUFS, where 1 LUF is called a LU.
Now we got that part covered.
Over here newspeak is to talk about LU's to describe loudness, relative to
the overall loudness.
But these specs do not speak about the Integrated / Momentary loudness!
It's only Instantaneous / Average and are described in DBFS,
(to add to the fun, the EBU Tech 3205 is concidered obsolete...)
>> Instantaneous true audio peaks shall not exceed -2dBFS
>>average peak audio levels should not exceed -8dBFS
I have no idea how loudness an true peak relate, (and in fact i think they
don't relate at all...),
But i've got a gut feeling that with a Momentary loudness set to 8,
and Short to 2, you're way covered (probably this is too conservative...)
But if you have the -2 / -8 dBFS covered already, you can just use this to
get to the desired LUFS.
Bouke
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS NIJMEGEN
The Netherlands
+31 24 3553311
www.videotoolshed.com
----- Original Message -----
From: "Job ter Burg (L2B)" <Job_L2@terburg.com>
To: <Avid-L2@yahoogroups.com>
Sent: Sunday, October 21, 2012 8:52 PM
Subject: Re: [Avid-L2] Re: EBU R 128 / Calm act, HIGHLY COMMERCIAL
Terry,
Yes, but the idea is not so much eliminating offending elements, as any
short peaks or loud or silent scenes are not the issue. Total overall
dynamics is. So it is better to mix by your ears, then use this tool (or
some of the pther more expensive ones) to measure it and bring it up to
spec.
Apparently, Bouke's too will tell you where the parts of the mix are that
cause the needto normalize, so you could go back and tweak those.
Bouke's tool otherwise seems to go by the same approach as Grimm Audio's
LevelNorm (AudioSuite plugin, Avid compatible, R128 or A/85). This was
specifically designed so that Avid editors would mix any way they want, then
normalize the entire result to R128 or A/85. Even if you would mix to older
norms (like European mixes used to be crushed flat at -9dBfs), or if you
want your mix to have a specific compressed sound and very limited dynamic
range, LevelNorm or LoudnessChange will indeed legalize it to either R128 or
A/85.
Most mixers tell me they need to rely less on meters and more on actual
creative mixing with these new standards. They need to set up their room to
a certain dialogue level they like to go by, then mix as they feel is right
creatively, rather than the other way around. Folks mixing for TV can
finally actually mix again, rather than fighting their way into a brickwall
limiter.
J
On Oct 21, 2012, at 20:08, "Terence Curren" <tcurren@aol.com> wrote:
> Bouke,
>
> You are just lowering the entire mix to pass specs right? The better
> approach would be to only lower the offending elements, but that can't be
> done with a finished file. So your program is more like a legalizer, yes?
>
> --- In Avid-L2@yahoogroups.com, "bouke" <bouke@...> wrote:
>>
>> Guys (and Shirley),
>>
>> If you need to deliver to the new sound specs, this might be of help:
>>
>> http://www.videotoolshed.com/product/68/loudnesschange
>>
>> In short, it can analyze a mixdown (as a wave file), see potential
>> trouble
>> (short / momentary peaks) so you can fix them,
>> and render the file to a new file while upping / lowering the mix to get
>> to
>> your desired LUFS.
>>
>> And it's blazing fast....
>>
>>
>> Bouke
>>
>> VideoToolShed
>> van Oldenbarneveltstraat 33
>> 6512 AS NIJMEGEN
>> The Netherlands
>> +31 24 3553311
>> www.videotoolshed.com
>>
>
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
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