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Chtel bych zkusit udelat 5.1 mix jednoho AV projektu a vypalit ho na DVD tak aby ho kazdy DVD prehravac rozpoznal jako 5.1 zvuk...
Jedine co vim je ze ten zvuk musim prekonvertovat do AC3 formatu..
Ma nekdo zkusenosti s timhle?
Dekuju za odpovedi....
Ja jsem s DVD nyni narazil na problem. Nevite nekdo, na jakou hlasitost nastavit audio pro DVD? Jak peak, tak RMS....
Ja mam peak -0.3dB a RMS -9dB a je to hodne nahlas proti jinym hudebnim DVD (mozna i dvojnasobne). Priblizne bych to premichat mohl, ale nenasel jsem zatim nikde zadne doporuceni, kolem jake hodnoty je dobre se pohybovat...
Pokud o nejakem vite, dejte mi prosim vedet....
Osobně se tedy snažím vejít do těch -12dBFS.
Ale asi bude užitečnější podívat se, co praví "moudrá kniha"
Analog Versus Digital Meters
The way you set your levels with a digital meter is different from the way you’d set levels on an analog meter. Compare a traditional analog audio meter with one of the digital audio meters.
A digital meter displays the sample values of a digital audio signal. The scale on the meter is known as digital full scale, or dBFS. On this scale, 0 dBFS represents the highest possible sample value. Any samples above 0 dBFS are clipped, distorting the original shape of the audio waveform. Once a signal is clipped, the original shape of the waveform cannot be recovered.
0 dB (Analog) Versus 0 dBFS (Digital)
Even though audio is exclusively digital, it is likely that your audio will exist in an analog context at some point. Even an entirely digital workflow begins with microphones and ends with speakers, which are both analog devices.
When you look at the meters, you need to consider how the signal level will correspond to an analog meter. Specifically, you need to choose a point on the digital meter that corresponds to 0 dB on an analog meter.
This point is where your average signal level should be, providing headroom for occasional peaks. Headroom is particularly important in digital audio because any audio that goes beyond 0 dBFS on the digital meter instantly clips and sounds distorted.
The level you choose for your average audio level affects the potential dynamic range of your mix. The lower your average signal is allowed to be, the greater the difference between the average and loudest sounds, providing a larger dynamic range.
There are several common digital levels used to correspond to 0 dB on an analog meter:
–12 dBFS: This level is often used for 16-bit audio such as DV audio, and for projects with compressed dynamic ranges, such as for television or radio.
–18 or –20 dBFS: This is more common on projects with higher dynamic range,
such as professional postproduction workflows using 20- or 24-bit audio.
What Does 0 dB Mean?
On an analog meter, 0 dB is the optimal recording or output level of a device. If the voltage is much higher, it may distort. If it is much lower, it may be lost in the noise inherent in the device. On a digital meter, 0 dBFS refers to the highest audio level allowed before clipping.
What Reference Level Should You Use for Mixing?
The dynamic range of your mix is dependent on the final viewing environment. For example, movie theaters have large, relatively expensive sound systems that can reproduce a large dynamic range. Television speakers are much smaller, and often the listening environment has more ambient noise, so very quiet sounds may not even be noticeable unless the overall signal is compressed and the level increased, which reduces the dynamic range.
For example, television stations normally accommodate only 6 dB between the average loudness and the peaks. Dolby Digital feature film soundtracks, on the other hand, can accommodate up to 20 dB between average and peak levels. This is why loud sounds in a movie theater sound so loud: they are much louder than the average level.
When you mix your final audio, you choose a consistent reference for the average level.
When you choose the average reference level, you are actually choosing how much additional headroom you have before your signal distorts. The higher you set the average level, the less safety margin you have for peaks in the signal. This means that the loudest sounds in your mix cannot be much louder than the average levels, and so the mix is less dynamic.
If you set the reference level of floating audio meter to –20 dBFS, you have nearly 20 dB of headroom, since 0 dBFS is the digital limit for the loudest sound. If you set the reference level in your sequence to –12 dBFS instead, you have less headroom. Even though the average level of your audio is higher, there won’t be as much dynamic range.
How much dynamic range you allow in your audio mix depends on its ultimate destination. If you’re editing a program for TV broadcast, a reference level of –12 dBFS is fine, since you are only allowed 6 dB of dynamic range anyway. But if you’re working on a production to be shown in movie theaters, consider using a reference level closer to –18 or even –20 dBFS (both of these are frequently used standards). Remember that the ultimate goal is to ensure that audio doesn’t peak over 0 dBFS in your mix and won’t peak over +3 dB or so on an analog meter.
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