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alidav

level references in post for dialogue, effects and music.

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when mixing what are the audio levels of delivering, - 23 LUFS (Dolby scale 7) is for dialogue? or for the whole mix included effects and music?

and or what are the levels normally adopted for feature film and or short movies, indies and docu, for dialogues, music and effects?

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Where are you mixing?  A real calibrated dubstage of Dolby certifiable interior volume?  In an edit room?  In a remote truck? On headphones with a laptop on public transportation?    Have a read though this thread: https://www.gearslutz.com/board/post-production-forum/229741-standard-mixing-levels-movie-theater-dvd-broadcast-tv-commercials-etc.html

and follow that up with this thread: http://duc.avid.com/showthread.php?t=87830

and you will have some answers.   For TV especially the audio file delivery parameters are often spelled out in a doc that is part of the producer's contract with the network etc, and there are real differences in what various networks around the world want (sometimes different arms of the same network have different specs).   For movies, esp. BIG movies, the mix Loudness Wars are ongoing--well above the spec you mention, often.  Do read those threads if you haven't already, and understand that there is no one size fits all on this issue. 

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I read the first of two links you posted, I am going to read the other one, probably am saying something stupid, But in i am any article, I read there is no mention at LKFS or LUFS, There is something quite objective in setting levels in a mix? where -23 lufs/ Dolby scale 7 come out?

i am right now bussing some film audio via a daw and reading the levels on Izotope insight , and yes all dialogues are around  -23 LUFS  could this be considered as an objective value?

 

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You may be confusing the level of a file playback within the DAW with the level you are listening to in the room.  File delivery level specs are what TV networks are interested in.  How loud you listen in your room while you mix is up to you.  There are guidelines set up to help keep a mixer informed about how the levels they are listening at might translate to other rooms, but their main purpose is consistency of listening level so the mix moves you make end up doing what you think they are doing when the movie plays someplace else.   The ATSC spec has some general ideas about good listening levels in various sizes of rooms, from dubstages down to remote trucks.  But you have to establish a listening level that works for you in your own space (unless your space is a Dolby-approved dubstage) and then stick to it.

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