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Changing standards.


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This is a scattershot reply to multiple comments scattered through this thread.

I agree about monitoring. I always used to do car stereo tests and crappy earbuds. For video I still check my (calibrated) monitor, and Laura's (uncalibrated) monitor, two TVs a phone and a tablet. Scopes only care about clipping, not aesthetics. Dealing with some guy right now who keeps arguing with me about just calibrating his video monitor to REC 709 and understand a projector in a hotel banquet room probably wasn't calibrated for image since it was hung and keystoned...

Quick reiterate that many movie theaters no longer have anyone who properly knows how to calibrate projectors. If one's theater combined 2D/3D showings in one auditorium I guarantee they didn't remove the polarizer... Goodbye 75% your brightness. Roughly a quarter of those I've asked felt Solo was too dark. The rest wondered what I was talking about.

I'm reasonably certain with the resources of Disney/ILM/Lucasfilm final grade was properly checked. I'm still inclined to blame the theater. Pretend I told a long story here about complaining to a theater manager about dialog levels being at 96dB (yes, I had a decibel meter). Red may remember that film audio is mixed for dialog to sit at 80-85dB. 96dB dialog means the sound system was too loud. That's permanent hearing damage loud, since peaks would have been pushed over 120dB (speakers only required to push 110dB, 115 for the sub). Yes, the movie audio was clipping. The manager tried to tell me it was because "Real 3D Audio" is calibrated louder. Bull. Real 3D is 144Hz projectors,flickering 144 times per second between left/right through a circular polarizer, and has nothing to do with audio.

Needless to say, never went back.

The long version had more profanity. I ripped that manager apart with the aid of a smartphone. Don't BS me in my areas of knowledge when I can prove your lies in 30 seconds of portable internet. I pity that poor Best Buy guy who tried to upsell Dad to a 4K "HDR" set costing 3 grand. But at least he was properly educated on the difference between high-gamut, high dynamic range, and how it doesn't effing matter on an 8-bit/channel broadcast image. 3 grand is an expensive contrast filter. But I digress... How dare you sarcastically "Never!" at me.

Hey, notice how the 3D projector used for 2D kills your light? Cut by half for the flicker, half by polarizing.

Red, broadcast audio spec has changed with the CALM ACT if 2009. To refresh and go back to NTSC, audio track had its bandwidth, then stereo happened. To fit two channels in the same bandwidth dynamic range got cut. Heavy compression became the norm. When the digital standards came in, everything had to allow for 5.1,and people really started cheating mixes - buring things on rear channels, just measuring center. Median volume levels got too damn high - seriously, RMS was getting to -10dB for narrative and -2dB(!) for commercials - bringing us back to the CALM ACT.

To (really) keep it short (this time) RMS of all mixes (mono, stereo, surround) must stay at -24dB on all channels. This actually lead to a resurgence of actual dynamic range in mixing, but, yeah, dialog is now quiter and transient peaks can now have more range.

CALM ACT applies to broadcast, cable, AND streaming. I had to mix all my stuff for LVTV and KCAT to standards.
Don't remember the ITU number for the spec, but, if you care I know you gents and ladies have stong Google-fu.

Yours,

   Techie Mike



Message Replies:
Partial spec sheet. -- Techie Mike (posted: 6/5/2018) 
Too Old for Stuff -- red (posted: 6/7/2018) 
I'm not old till next year... -- Mike Miller (posted: 6/7/2018) 
On the camera work... -- Techie Mike (posted: 6/5/2018) 
 
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