Post filma

[Max]

Originally Posted by Arthur

ja sam odustao od nekog jaceg limitovanja zvuka za TV, jerbo mi HRTov limiter koji ne znam na kolko rms krece sa radom, ionako sve razjebe. Sad radim lepo, cisto i .. tiho

Koliki RMS ti ispada .... a da zvuci dobro posle limitera na HRT ..... ima li razlike izmedju HRT i PINK a ????


Pozdrav

[Arthur]

Pink je uzas - zvuk je i na kablu mono, tako da mi muzika izlazi zguzvanije, i sve je nekako slepljeno i mutno, kao da su upalili vintage warmer preko svega.
Sa hrtom se i dalje boljim, drzim regularno rms izmedju -15 i -10dB, mada mi je skoro nemoguce sacuvati normalnost a da makar nekad ne zalepi neko urlanje u -5dB.. jal sam ja lud, il je to ok, rece mi neko da i drugi muku muce sa HRT-om. Vec sam na drugoj temi pozvao kolege da mi se jave povodom ovog problema, al niko sem Zvine ne dodje..

[Arthur]

u principu najvise me muci to sto se desava povremeno neko sumanuto pumpanje, skoci muzika u sred scene, sledeca scena pocne jako pa se stisa ili obrnuto.. doduse, pre neko vece sam to primetio i na Sopranovima (muzika koja skoci posle 3 sekunde pauze u dijalogu, pa se utisa cim progovore)..

[Max]

Gore pricas o RMS u ?????


Da ... sto se pumpanja tice , desava se i na reklamama , ali u zavisnosti od televizije ..... na nekim programima jako , na drugim slabo , na trecim pumpa , na cetvrtim .......

Mada ja teram reklame da budu oko - 8 rms a ... jer u drugom slucaju ako izpadnu slabe .... nikad ne znam da li sam ja kriv ...... ovako bar znam da nisam , ako me neko pita


Pozdrav

[Arthur]

RMS jasta !

[Arthur]

eeee zajeb, ovo sve sto ja pricam, oduzmi 6dB, jerbo nam je 0 peak u stvari -6dB, tako nam trazili. Ja merim Digicheckom kojeg sam izbazdario da je -6dB peak-a referenca za nulu, tako da mi realni RMS ne prelazi -11, a cini mi se da je i to i dalje mnogo

[Color]

Originally Posted by olix

Hvala Color, to je ?to sam htio znati.Znam da mi je pitanje neprecizno i ispričavam se!!!
Jo? samo ne?to, da li se koristi L2 (waves) za pobolj?ati signal i da li je dobar
algoritmix noise free za skinuti pozadinske ?umove jer u jednoj sceni je snimljen dialog u sobi a prozor nisu zatvorili pa se malo čuje promet.

Nema na cemu...

U vezi L2 i ostalih slicnih, svi ce oni zavrsiti posao kako treba. Film a pogotovo TV produkcija nije toliko zahtevna kao muzika. Sto se tice vrednosti, namestanja parametara, zavisi od toga sta ce ti biti final.. Emitovanje na TV-u, DVD, bioskop, nesto trece?

Sto se tice vrednosti (koliki RMS, peak level itd) u Srbiji, Hrvatskoj itd, ti mnogo ne mogu reci, jer nisam bio u prilici da radim za ta trzista...

Generalno ali vazi pravilo da najmanju dinamiku imas na TV-u, znaci tu najvise moras da sabijes signal i vazno je da mix kontrolises na zvucnicima od TV-a. Mnoge stvari mogu da se izgube. Ako radis DVD, tu imas mnogo vise prostora u dinamici i ne postoji pravilo koliki RMS mora da bude... Radi tako da zvuk bude dobar. Ako peak level pustas do 0dB, nemoj jako sabijati signal... Ako ces peak level da seces na npr -6dB (ovo bih uradio u slucaju da postoji mogucnost da klient materijal predvidjen za DVD-a pusta posle na TV-u), malo sabijes signal ali toliko da ti ne pravi muljanje i izoblicenja u zvuku..

Eto, nadam se da je post od pomoci... Ako nesto jos nije jasno, pitaj...

pozdrav...

[Arthur]

vidis, i ja sam isao logikom da sabijam maximalno za TV, al me limiteri koji stoje na emitovanjima demantovase.. tako da ovo sto sad radim je najdinamicniji zvuk koji sam ikad radio

[Oggy]

Ja vec godinama festival "polu-masterujem", tj. trazim da mi ne zakuju snimke dinamicki jer losije zvuci na TV-u.
Kada je snimak sa opustenijom dinamikom, mnogo bolje radi na TV-u nego snimak koji je napucan.
Moje licno visegodisnje iskustvo.

[dvuckovic]

ovo je MTV standard:

Technical Specification for Transmission
MTV Networks programming is transmitted via an automated server system, cached from Digital Betacam. Whilst it is possible to use Beta SP, Transmission material is ideally supplied on Digital Betacam, dubbed where possible from the master.
For best audio and video performance please supply material that conforms to the following specifications:
Description
Digital Betacam
Beta SP
Alignment reference
Sony ZRP
Sony CR5 2BPS
Signal timing
625/50 (PAL)
Output levels and timing
Aligned Sony DVW500P (or equivalent) should produce a CCIR 656 270Mbit/s signal which when converted to analogue produces PAL signal conforming to EBU specification.
According to EBU specification for component recording of PAL signals
Aspect ratio
16:9FHA or 4:3
16:9FHA or 4:3
Audio reference level
-18dB relative to max count (Headroom 18dB)
+4dBu, PPM5
Audio alignment reference
Sony CR8 1BPS
Peak audio level
Reference +8dB
Not to exceed +8dBu, PPM6
(Dolby C noise reduction system)
Audio pre-emphasis
None
Black Level
When a pixel is black, the specified voltage transmitted or recorded is Zero (0) Volts . Any lower than this level is Illegal
When a pixel is black, the specified voltage transmitted or recorded is Zero (0) Volts Any lower than this level is Illegal
Peak White
When the pixel is at maximum brightness (luminance) the voltage is +0.7 Volts (700mV)
Any Brightness (luminance) Higher than +0.7 is Illegal
When the pixel is at maximum brightness (luminance) the voltage is +0.7 Volts (700mV)
Any Brightness (luminance) Higher than +0.7 is Illegal
Audio tracks
A1 & A3 left, A2 & A4 right
A1 & A3 left, A2 & A4 right
Timecode (SMPTE/EBU)
The time code should be 8-field (PAL) locked to video and should be continuous throughout the programme (including the header section). VITC should be recorded on lines 19 and 21 and should be identical to the LTC.
MTV Networks Europe Confidential Page 1 06/07/2004
Order of Recording
Recorded material must conform to the specifications outlined below:
Duration
Timecode
Video
Channel 1
Channel 2
Channel 3
Channel 4
09:58:30:00
60”
75% Colour Bars
1KHz
1KHz
1KHz
1KHz
09:59:30:00
27”
Clock or ident
Silence
Silence
Silence
Silence
09:59:57:00
3”
Black
Silence
Silence
Silence
Silence
10:00:00:00
Programme
Programme
Left
Right
As Ch.1
As Ch. 2
Prog. End
10”
Freeze frame
Silence
Silence
Silence
Silence
Freeze end
30”
Black
Silence
Silence
Silence
Silence
Please Note:
Audio line up tone should be identical in phase on both audio tracks for mono material or audio 1 interrupted tone and audio 2 continuous tone for stereo material.
Ideally, one commercial only should be recorded on each tape that is supplied to MTV Networks. However, multi-segmented tapes can be accepted provided that the time code start and end time for each commercial is clearly marked on the tape or packing slip. Subtitles, where appropriate, should be on line 22 of field 2.
There is a requirement by some broadcasting regulatory bodies that audio should end six to twelve frames before the vision; other adjustments such as frames of black before and after the material, or frozen vision at the end, will be made during the transmission process.
Material supplied on other broadcast formats is not excluded but may cause processing delays.
MTV Networks Europe Confidential Page 2 06/07/2004