A preferred method is to break your episode down into shorter lengths of time, and analyze them each separately. There may still be sections that are outside of spec even after we adjust the overall level. The above example, for instance, is a reading of the entire episode (in this case about 23 minutes).īut sometimes one act is louder than another, so a full-length analysis like this isn’t ideal. The point is, the length of time you analyze directly impacts the resulting measured LUFS value. It weighs all the mix that it sees, for however long you select. It’s not like normalization that simply looks for the one highest peak and returns that value. Now, this measured value is an integrated loudness reading over time. Here we are simply using clip gain to attenuate this stem by 2.1dB in order to make it compliant with our loudness spec. The plugin will return your integrated loudness value and true peak value. Then just select your composite mix stem (5.1 or stereo) and hit analyze. All we need to see if it’s in spec or not is the Pro Limiter Loudness Analyzer plugin, located at AudioSuite –> Other –> Pro Limiter Loudness Analyzer. Let’s say we have a composite mix stem for our show that needs to comply with the network’s LKFS spec. So how does a limiter help us with average program loudness levels? It’s not the limiter itself, it’s a separate component of the plugin called the Pro Limiter Loudness Analyzer.
True peak is of course a subject unto itself, but suffice it to say this kind of a limiter is a Good Thing™. The Pro Limiter from Avid is a great new plugin that limits your audio in the “true peak” domain, which is another aspect of proper CALM act compliance.
So let’s look at a quick and simple method to push the mix back into spec using a component of Avid’s excellent new Pro Limiter plugin. However, mixes often end up a little low or (more commonly) a little hot. The most important means of meeting the spec is simply to mix to the spec. And frankly, it’s a pretty good spec it retains a healthy amount of dynamic range potential for “brief excursions” above and below the spec, and also keeps things focused around dialog level in a pleasing way. If you’d like to dive deep into the details of this, here you go.īut suffice it to say, we have to meet this spec with the audio that we deliver. That spec is -24 dB LUFS, where LUFS stands for Loudness Units Full Scale.
These days the CALM Act mandates that TV programs and commercials all adhere to a standard specification for average integrated program loudness.
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