Sandy you're amazing!!! Thank you for these resources!!! And thank you Derek for asking the question!
Scott, the technician I work with is a woman. Always, Anna --- anna kipervaser annakipervaser.com On Tue, Feb 25, 2025 at 8:43 AM Sandy McLennan <[email protected]> wrote: > There are different figures out there but it’s generally said that 16mm > optical track plays back “flat” between 80-100Hz and 5-7KHz, with a dynamic > (signal to noise) range of 30-40dB. So use any digital equalizer to reduce > output below 100Hz and above 5KHz then compression to have all the audio > (loud to quiet) within a range of just below 0bB to about -30dB. Reaper has > these tools included, and is a low price. > > My main resources for specifications, from these two pages: > > Mixing for 16mm Optical Sound – filmlabs.org > <https://www.filmlabs.org/technical-section/sound/mixing/> > > Simon Fraser doc: 16mm Film & Audio > <https://www.sfu.ca/~gotfrit/ZAP_Sept.3_99/f/fsnd_lect_16mm_mix.html> > > Thanks to friend David Power for these notes (he has helpful audio and > Resolve tutorials on YouTube): > > Hard limiter on master buss just shy of 0dB around -0.1dB or -0.3dB > > Hard gate at -30dB, so as you work you’ll hear dropouts of audio below -30 > > Compressor with several render-listen-repeat passes of 3 - 6dB of > reduction in each pass to bring peaks down ~18dB. > > At this point, with ~18dB of headroom, boost the entire master buss by > 18dB. The hard limiter will keep it from clipping. Play it back and listen > critically — with headphones, on studio monitors, at soft, medium, and loud > volumes. If there are still dropouts in the audio (i.e. the gate closing > over things we need the audience to hear), repeat the steps above: > > 1. Compress gently “a few” times. > > 2. Raise the overall gain by the amount of gain reduction. > > 3. Playback and listen for dropouts. > > NB: you’ll get far better mileage out of layering compressors (reducing > gain by “a few” dB in each pass) than by knocking the peaks down super hard > with a single compressor. > > In the early compression phases, you might want to start with a fast > attack, medium release to knock down any super fast transient in the > material. Once things the peaks are under control, then add slower > compression passes to smooth out the entire track more subtly. > > NB2: Because you’ll likely boost overall gain several times using this > technique, you’re bound to raise the noise floor. Once at / near the end, > if there’s noticeable noise, you can either try a gentle Rx noise reduction > pass or two. Or, use a soft-gate to knock down noise during quieter > passages. > Sandy > > On Mon, Feb 24, 2025 at 5:03 PM Derek Jenkins <[email protected]> > wrote: > >> Talking to the technician is always good advice, but the ones I use have >> limited abilities to test the track for results in the right context. I've >> had multiple tracks made, and I've found that tracks which sound >> satisfactory on a portable projector may sound less so in a professional >> exhibition space. I'm aiming to improve my results, so Sandy's resources >> are very helpful. Thanks all! >> >> D >> >> On Mon, Feb 24, 2025 at 3:52 PM Scott Dorsey <[email protected]> wrote: >> >>> Talk to the man doing your optical track! Just be aware that the >>> bandwdith >>> will be limited and so will the dynamic range... but you don't need to >>> bandlimit or crush it because he'll do that for you. You may find a >>> little >>> presence boost helps overcome the distortion on cheap classroom >>> projectors >>> but then again you may choose not to do that. >>> >>> Just make sure the timing is right and the 2-pop is in the right place, >>> and give some leadin before the 2-pop. >>> --scott >>> >>> >>> -- >>> Frameworks mailing list >>> [email protected] >>> >>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >>> >> -- >> Frameworks mailing list >> [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >
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