Anyone can send me "Academy Curve" Q10 setting?

[mgoorevich]

I am mixing now for 16 mm student movie. And I need to use an Academy Filter on my master in Pro Tools.Is there anyone here who used Waves Q10 for doing so? If yes then maybe he can send me attachment of its setting. I know the roll-off frequencies, how much db/octave e.t.c it should be. Although it would be great to get it from someone who made it in "real world" not theory. I will appreciate you allot for any other tips.
My e-mail (for attachment) is: [email protected]
Thanks

[dr sound]

Here is a link:
http://www.hometheaterhifi.com/volum...es-6-2002.html
All I can sugest is that you know what you are doing. You might really F it up if your not carefull!

[Noiz2]

I would also suggest that you talk to whoever is shooting the optical sound track. They should have some specifications that you need to pay attention to. And I would second Marti's caution.

[Tiago Silva]

Be careful! The Academy curve for 16mm is very different from the 35mm one! [edit] No it is not! It's the same thing, sorry... It's a room curve applied on the theatre chain.[/edit]

Please, contact the engineer that will be recording the 16mm optical sound before proceeding. If he isn't of any help, then contact Mr. Martin Sawyer, at

MARTIN SAWYER SOUND SERVICES
18-20 St Dunstans Road,
South Norwood,
London,
SE25 6EU
020-8771-5242 020-8653-9773

I'll try to validate this adress later in the day. He has the experience, the machines and the will to help. He also talks a lot, so you might learn something if you have the time to chat for a while.

[georgia]

also bear in mind the EQ is based on the room. So that the room has the curve.. Simply placing an EQ with the formal curve layout in an eq will not promise to actaully translate in your room accuratly. You need to set the curve based on analysis of the room with a LEAST a spectrum analyzer and pink noise generator. It's not only the curve but the level as well.

cheers
geo

[mgoorevich]

Thanks for the link. It's great (though I already visited it before).
Now you really scared me up. You say that I can F it up if I don't know what I am doing. ...And I don't. Yeah I have never made a master for 16 mm. So should I give it up and ask producer to take it to another studio which has experience with it. Or I can take a chance and rely on the information from the web and on your advices and your help?
I am confused by as little I know :-(
Please help!

[minister]

why don't you mix it as best you can in your room. then, when ready, book a dub stage or larger film mixing place to check it, tweak it, and impose the right curve for your 16MM print. don't know where you are, but there are facilities all over the place and some are a short plane ride away. or, if you find the right place, you can trust them to do it and ship it to the lab.

[dr sound]

Georgia is right, it's really a "room curve". You are best off following "Minister's" advice.
Talk with the lab, ask questions and then book time with a place that works with the Academy Curve.
Now get back to what you do best and that's mix!

[Tiago Silva]

Again, be careful. The headroom and frequency response of 16mm is a lot tighter than 35mm; if you mix with the curve and simply "compensate" by boosting the highs you run the risk of overloading the light valve of the optical sound camera and fail to "make optical".

Making sure that a mix wouldn't clip the light valves (if the mix "made optical") was one of the main tasks of the Dolby Consultants before Dolby came up with the Container card (a compressor/limiter designed to protect the optical systems with minor audible effects).

Dolby won a Technical Academy Award for the Container card but I don't think it works properly in 16mm (the frequency range to protect is different). Does anyone have any experience on this?

I recommended Mr. Martin Sawyer because he is one of the most knowledgeable persons I've ever known when it comes to optical, especially in 16mm and variable-density optical. He also does 35mm sound negative restoration work. Two years ago a portuguese short film also wanted to have a 16mm print with sound, and I told the producer and sound mixer basically the same things minister has said, but recommended Mr. Sawyer to them and later found out that he had built his own version of a 16mm container card!

[minister]

does dolby use the same container for 35 and 16? or separate ones? i know that the frequencies are fixed, but aren't they (shouldn't they be) different for 16? dolby's meter bridge shows clashes for a 35MM printmaster when your LtRt is going to be a problem, is there a different spec/setup/bridge/DMU for 16? is mr sawyer's container fixed frequency as well? just optimised for 16?