Is the X curve an actual first arrival response or a target on RTA to achieve a flat response?You are correct! When I started doing made for HT mixes in 2000, Dolby recommended we do them without using the X curve. I think the X-curve should have been abandoned decades ago, it is a relic of the past.
I can't post pictures because I won't be home until Christmas, but I won't deny that it's very small. It's basically a near field setup with a Klipsch THX Ultra 2 system.^ where is pictures of your room and speaker
Whatever......academy award best achievement in sound . i believe they win if mixed at certain dB x curve scale level ? that is what read around in white paper years ago .
i can test this many ways which i not seen a soundmixer filmmixer even providing a single video ? wow they must be really that important then ?
So I'm in doubt if I should compensate to align the midband, and thus the entire bandwidth, to 86 dBC or keep it at 85.
I tried lowering the amp, but I always felt I was loosing the impact of peak levels that only true reference gives.
If a soundtrack has dialogues that were obviously mixed below reference (hot), I simply keep listening until the movie ends, then I open the tray and throw the disc in the trash can.
Do you think Tenet is one of those, untouched, direct port of the theatrical mix? If you're not sure, can you get in touch with someone who can confirm that? I'd appreciate it very much.Very few discs I own are at 85.
My issue with this is that if you look at the majority of cheaper, "home theater speakers" that people install, they have elevated high frequencies for that "clarity" factor. People like me go out of their way to find flat, neutral speakers, but very few consumer systems are actually flat. I know, circle of confusion.For what it's worth, when we check our mixes in a more mid-field environment for the Home Entertainment/VOD deliverables it's fairly common to check this without X-curve compliance. Even then I personally sometimes add a bit of sparkle if it's available in the recordings*. If we'd mixed in the big rooms without X-curve, this would be required even more. I guess what I'm saying is that even though X-curve is basically "wrong" in terms of standardisation, given it generally seems wrong in the direction that it rolls off too much HF (depending on how you actually quantify that) it is actually giving current mixes more HF [in the recording, ignore the replay chain] than any other calibration curve.
Totally agree. My comment was in the context of dialogue intelligibility issues though, and I don't believe the replay side having more HF than the mix stage (particularly in the top octave and a bit) would have negative impact on that particular aspect. Obviously it's not an ideal situation though!My issue with this is that if you look at the majority of cheaper, "home theater speakers" that people install, they have elevated high frequencies for that "clarity" factor. People like me go out of their way to find flat, neutral speakers, but very few consumer systems are actually flat. I know, circle of confusion.
I was wondering, when calibrating a theater or dub stage, is the RTA set to C-weighting or Z (flat)?Obviously it's not an ideal situation though!
So, early this year, I rescanned the English DTS-HD MA of Tenet and it's indeed around -11 LUFS.Don't know I'm afraid. I'll see if I can find out.
IIRC Warners always ask for a -24LKFS nearfield mix to go on their video masters. But I don't know if they used it on that particular disc or if it will have just gone for VOD.
If you've got time to kill, and a bluray drive in a computer, you could rip the audio and measure the loudness? If it comes in at -24LKFS +/-2 and has truepeaks around -2dBTP (may not be exact if a lossy codec) then it's NOT the mix used for cinema.