-14 LUFS Streaming question

[subwoof]

What do some of you set your monitoring levels at for doing a -14 LUFS streaming-only show? I normally set my listening levels at 78 for midfield TV work, so I'm guessing maybe 72 for something this loud. Any thoughts? Oh, and the show is an action piece with lots of car crashes, explosions and gun shots. Or, should I mixd at -24 LUFS and then adjust the VCA's to make a -24 LUFS mix. I know ultimately I'll loose 10 dB of headroom on everything. Thanks!

[its2loud]

Is this an actual spec or are you just assuming it's -14 because it's going to be streaming?

[subwoof]

Originally Posted by its2loud

Is this an actual spec or are you just assuming it's -14 because it's going to be streaming?

Good question. This will stream on a direct rent or buy website. It’s designed to play on iPhone, iPad or airplay to a TV. My -14 is based on other streaming specs. It’s a stereo only mix. My first thought was to mix like I always do for broadcast at -24, then adjust the mix stems for -14. But this mix paradigm for streaming only is a new one for me.


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[its2loud]

What service? If it's direct rent or buy that's usually on Apple TV or Amazon Prime or other like services.

My suggestion would be to get actual specs before starting your mix. Most streaming platforms. Netflix, Paramount+, YouTube, Hulu, etc... Have certain specs. Most of them adhere to a -27 or -24 LKFS norm. It's mostly for music streaming service that are for the -14 to -17 range.

[subwoof]

Yes that’s true. But the producer has his own website, and there are no specs per say. It’s not Amazon or Netflix or any other platform. It’s just him direct marketing his own product for direct streaming. All he keeps telling me is he wants it loud, and it’s an action show. Maybe I should do it at -24 since he has no delivery specs, except “loud”.


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[jeremiahmoore]

68 dB SPL

[npapaleo]

95% of my work must adhere to both a -24LKFS and a -14LKFS spec. I have my monitoring set to 79 dbSPL and will do my -24LKFS mix first, I will then dim my monitors to 69 and complete the -14LKFS deliverable. This is usually accomplished a number of ways with any number of plug-ins on my mix bus. Sometimes it's as simple as turning up the gain/input of my peak limiter. Sometimes I'll add makeup gain to a compressor. The list goes on...

[subwoof]

Originally Posted by npapaleo

95% of work must adhere to both a -24LKFS and a -14LKFS spec. I have my monitoring set to 79 dbSPL and will do my -24LKFS mix first, I will then dim my monitors to 69 and complete the -14LKFS deliverable. This is usually accomplished a number of ways with any number of plug-ins on my mix bus. Sometimes it's as simple as turning up the gain/input of my peak limiter. Sometimes I'll add makeup gain to a compressor. The list goes on...

Thank you no Npapaleo. That’s sound advice! I appreciate it.


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[smurfyou]

Similar. I mix to -24 first. I always have my monitors at cal until I need to do something like this then I'll lower by the appropriate amount.

If it's a simple piece I'll just gain it into the limiter and go on my way. Otherwise I'll do it from the stem masters so I can tweak a little if need be.

If your client really has no spec and wants it loud I'd give it to them. If it's for social or a custom site it'll be fine and they'll be happy it's loud on their phone . You'll have your standard mix available if needed down the line.

[Tim R.]

As others here have done, I have my post template built around mixing to -24 with mix bus compression/limiter thresholds set accordingly, with my monitor controller set to it's calibrated position. However, I've recently been doing so much direct streaming work with no defined spec that I've adjusted my template and monitor level to hit -18 (AES recommended streaming standard for dialogue anchored content). I would find it difficult to push a mix done at -24 up 10db to -14 without hammering my bus processing especially one with high impact elements like explosions and gunshots.