I need your help guys For the first time, i have to mix a commercial for French TV following EBU R68, (signal dynamic shall not go over 21db. Usually I would just master it following the EBU R or ITU-R From what I read, R68 is based on the old PPM peak metering which really. My conclusion, if you use the DIN PPM scale (RTW) and the EBU-r68 dBfs scale, you have a headroom left of only 6 dB in the digital betacam.
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To sign up for a subscription package, click your user name in the upper right, and choose “Client Area”. Then, choose a package that suits your needs. This message will be removed once you have signed in. Posted 09 March – Hey, so I’ve been asked to master a tv commercial and the tech info I’ve been given is the following: R68 -9db and I have no idea what rules apply to that? Has anyone ever stumbled upon this before?
You could call or email them for their tech spec 6r8. Usually tv adverts don’t follow LKFS standards, but each broadcaster is different in that regard.
From what I read, R68 is based on the old PPM peak metering which really shouldn’t be used much anymore. I would bet a mix at -9dBFS max truepeak with a dBFS alignment 1k tone at the beginning of the mix the tech specs should say where to place the 1k tone would be suffice.
Ehu VU meters for both the left channel and the right channel in real-time was the most hellish archaic BS ever. Good luck with your search for an ebi. Most likely, EBU R standards would work. TV sounds like ass because there are broadcast loudness standards that sound engineers push to their limits. I’m guilty of this as well, because everyone does this so if I don’t my mix will sound weird compared r6 everyone else’s and my client wouldn’t like that.
The broadcast loudness standards are pretty cool though, because they prevent programs, commercials, movies etc. Remember back in the day, when you had been watching the news and the commercials came on and everyone grabbed their remote controls to turn down the volume? Well, this is one of the things the broadcast loudness standards prevents.
Adtoox technical specification for commercials delivered as files
Loudness standards work really well for the most part. The only downside is that wbu shows will sound relatively the same – very little in dynamics and the dialogue is always around the same volume whether it’s whispered or yelled. I’ve tried to sneak some louder passaged in some mixes only to be rejected and having to remix those bits. Whether it sounds like ass on some channels depends on what they are doing on ebi end.
Sometimes they have their limiters out of whack which brings a bunch of noise in mixes to the forefront or you hear pumping. Digital cable boxes sometimes have a compressor on which can also screw with the mix. I generally don’t listen to my mixes on TV since it can be so depressing. I don’t think I’ve ever mixed anything for broadcast that sounded the way I had produced it once it was shown on tv. Also, I was watching The Walking Dead one day ebbu some reason and when no one was talking the crickets were just as loud as the dialogue.
I’m pretty sure the sound engineer meant for it to sound like that. The crickets could be intentional for something like Walking Dead. You can get away with creative mixing on a show like that which is fun. I mostly work on TV doc series and it gets formulaic. Throw in a few footsteps here, a door opening there, car passing by, etc etc etc.
Fiction is where it’s at. I’m not sure, but it doesn’t sound intentional. I think it’s a limiter that’s at play because it almost sounds like the dialogue is side chained to the ambience with a very slow release, so once they stop talking the crickets slooooowly fade back in.
I actually really want to work on ehu documentary at one point. Mostly because of how documentaries have changed over the last couple of years and I imagine it can be a lot of fun – but I get what you’re saying about it being a tiny bit tedious. I work at a voice over company where I master shit all day long.
But I also have my own one-man company where I do sound design and music for movies, commercials, brand films, video games etc.
Adtoox technical specification for commercials delivered as files
So once I get home from work I head straight to my other studio and work on all the fun stuff. Ah, yes, the slow release is a give away to a limiter being r6 totally wrong. Documentaries can be fun, but TV doc leaves little room for creativity.
It’s mostly just filling holes, denoising interviews and balancing. Sound design is fun. I haven’t got any video game gigs yet, but I’d like to. I’d love to do more comedy and sci-fi stuff. I’m working procrastinating on a 30min doc right now on a small African island’s struggle with climate change which is OK.
I at least get to break out some ambiences G68 don’t usually get to use which is a plus. Woah R68 is kinda archaic, thought R had been the r8 for ages maybe just here in Europe R68 is -9db peak, so as long as you’ve got a limiter set to that maybe But yeah set the limiter to not peak above that and you should be OK What meter are you using?
The Waves Dorrough meter has been a blessing since it came out. It helped me immensely to getting mixes into spec. And ehu was so hard to buy for some reason; it’s like you have to be accepted by the Freemasons to be able to buy it.
Posted 10 March – Ok, so my client’s client is confusing the hell out of me at the moment I hate it when people make me doubt myself. But just so I’m sure Looks like R for those eb mentioned territories and R68 for others. To be honest maybe just do it for whatever standard you’re most comfortable with and they can always ask you to resend it if too loud or quiet or you r6 send two versions, each limited to whichever standard peak level.
Braindance Audio Post-Production Eebu I’ll let you know how everything goes. Alignment level in digital audio production equipment.
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