Mastering and Delivering a Finished Soundtrack

MasteringPlayback 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.

MasteringPlayback 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.

MasteringPlayback 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

MasteringPlayback 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.

MasteringPlayback 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.

MasteringComparing 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.

MasteringComparing 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.

MasteringComparing Levels

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

MasteringComparing 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.

MasteringPrintMastering

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.

MasteringDCP

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

MasteringPrintMastering

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

MasteringOur 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.

MasteringVarious 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

MasteringDeliverables

Multiple Mixes

-Stem/Split outputs

-Fully filled M&E

-Multiple Frame Rates

-Master Tapes and Protection Masters

MasteringMix Translation

Playback Chain and how it effects our mixes

Program Optimizers

Dolby DP600

Linear Acoustics

Upmixing

Data Compression

Mixing through encoders

Theatre Acoustics

MasteringFinal Steps

Delivery

Tech Evaluation

Backing up