A Proposal for a Standard to Improve Soundtrack Dynamic Range and Dialog Clarity for Better Enjoyment of Digital Cinema

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Publisher: SMPTE — White Plains, NY, USA
Doc Type: Conference Paper
Content Type: Original Research
Volume: 2022, No. 10, pp. 1–4
Abstract: Movie soundtracks that are mixed on a digital workstation with dialog levels at -35LKFS with peaks at -1dBFS, often translate to dynamic fluctuations of up to 50dBSPL, which, while mimicking ‘reality’, often annoys many audience members. As Netflix states on their Sound Mix Specifications page: “…content which is not excessively dynamic provides a better experience for our customers.” (1) Oscar winning sound designer Randy Thom has even stated: “The proliferation of digital movie houses with high fidelity amplifiers and speakers has provided Directors with a powerful set of instruments which they can use wisely or foolishly.” (2) — As stated on canadianaudiologist.ca: “Unlike previous analog sound, current digital sound is said to not distort at loud volumes and can be increased to extreme levels without static, fuzziness, or distortion. In other words, making sound louder with digital is less likely to reduce sound quality. As a result, movie producers, studios, and directors are generating soundtracks at very high sound levels - levels that can be annoying, and could potentially be harmful to hearing.” (3) — A well designed soundtrack with clear dialog and acceptable dynamic range should begin during the re-recording mix and print master stage to mitigate audience ‘annoyance factor’. This paper explores a simple mixing strategy which can greatly improve the listening experience for cinema audiences.
Publication Date: 2022-10-24
DOI: 10.5594/M001954
ISBN: Print: 978-1-61482-963-8
Link: https://doi.org/10.5594/M001954
Author(s): Buck MooreFilmmaker/Sound Designer, AV Consultant, Trebas Institute, Toronto
Keyword(s): Digital Cinema Soundtrack, DCP, LUFS, DBFS, B-Chain, Randy Thom, LFE, A-weighted, C-weighted, X Curve, Annoyance Level Acceptance, Loudness
Copyright: © 2022 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

https://acousticalengineer.com/leq-what-does-it-mean/ EXTERNAL
Netflix-https://partnerhelp.netflixstudios.com/hc/en-us/articles/360001794307-Netflix-Sound-Mix-Specifications-Best-Practices-v1-4 EXTERNAL
Brian Vessa - YouTube - SMPTE Standards Update Webcast: Cinema Sound Systems EXTERNAL
Randy Thom - http://www.filmsound.org/randythom/loud-movies.htm EXTERNAL
VanessaThorpe-https://www.theguardian.com/film/2019/oct/13/cinema-noise-levels-ruining-films-joker-hugh-grant EXTERNAL
Wayne j. Staab, PhD - https://canadianaudiologist.ca/movies-too-loud/ EXTERNAL
https://hearinghealthmatters.org/waynesworld/2017/movies-loud-still/ EXTERNAL

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Buck Moore; A Proposal for a Standard to Improve Soundtrack Dynamic Range and Dialog Clarity for Better Enjoyment of Digital Cinema, SMPTE Meetings and Conferences ( October 2022); SMPTE, 2022, ISBN: 978-1-61482-963-8. Available at https://doi.org/10.5594/M001954

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Buck Moore; A Proposal for a Standard to Improve Soundtrack Dynamic Range and Dialog Clarity for Better Enjoyment of Digital Cinema, SMPTE Meetings and Conferences ( October 2022); SMPTE, 2022, ISBN: 978-1-61482-963-8. Available at https://doi.org/10.5594/M001954

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<span class="citation">Buck Moore; <cite>A Proposal for a Standard to Improve Soundtrack Dynamic Range and Dialog Clarity for Better Enjoyment of Digital Cinema</cite>, SMPTE Meetings and Conferences ( October 2022); SMPTE, 2022, ISBN: 978-1-61482-963-8. Available at <a href="https://doi.org/10.5594/M001954" target="_blank" rel="noopener">https://doi.org/10.5594/M001954</a></span>

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Buck Moore; <cite id="bib-10-5594-m001954">A Proposal for a Standard to Improve Soundtrack Dynamic Range and Dialog Clarity for Better Enjoyment of Digital Cinema</cite>, SMPTE Meetings and Conferences ( October 2022); SMPTE, 2022, ISBN: 978-1-61482-963-8
<span class="doi">10.5594/M001954</span>
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