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That’s what was happening, though, especially with commercials that were competing to be the loudest on the air.
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From the outside (especially coming from the music world) it seems like an odd way to mix – basically you’ve got 10 dB of empty headroom that you’re not allowed to use.Īs long as your mix was limited at -10dB, it would pass QC even if it was squashed and sounded horrible. Back then, most television networks (in North America) had a peak level of -10dBfs. This was a brickwall limiter placed at the end of the chain. Some background on the average loudness spec:īefore 2012, there used to only be one loudness spec: peak loudness. This is the algorithm used to measure average loudness. This is your brickwall limiter on the master buss/output of the mix. Peak Loudness: -2dBTP (“true peak” or 2 dB below full scale). The three most important details to look for on a spec sheet are peak loudness, average loudness, and the ITU BS 1770 algorithm.
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PBS Technical Operating Specification 2016 – Part 1, Sections 4.4.1, 4.4.2 – Audio Loudness Requirements We’ll break down a few of these important elements. The information in the spec sheet will dictate some details in your session, such as track layouts for 5.1, where your limiters should be set, dialog level, bars and tones, etc. It gets pretty detailed, but it’s a good example of what a spec sheet looks like and the types of audio requirements that come up.
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To understand some important concepts, we’ll take a look at PBS’s most recent specs (2016), found here.įor PBS, it’s a 21-page document that includes requirements for video, audio, how to deliver, file naming, closed captioning, etc.
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Some online content providers (like Amazon), movie theater chains, and movie distributors also have specs, so it’s always good to ask. Spec sheets aren’t necessarily public or available online, but some are (such as NBC Universal). ABC, CBS, BBC, etc) that your client will provide when asked. Generally there will be a “spec sheet” for each broadcaster (i.e.