BBC iplayer and loudness

[fork-media]

Just curious - any one have any idea what the ref level would be on the BBC iplayer?

when I play back on my system seems like setting the volume on iplayer to '7' seems to be the right level for my speakers..

I just moved countries- and most of my gear is in a container at the minute - so have just bought some new speakers for a job I am working on - dont have a meter for calibrating..

I played some stuff back I mixed to -24 LUFS -and it all seems comfortable and at the same loudness by my ear at least..


any one care to comment? thanks

[MIKEROPHONICS]

transmitted content on the BBC is R128 and -23LUFS (+ or - 1) with a gate (quite so)
I would presume that they don't alter for the iplayer

[Soundburst]

Originally Posted by fork-media

Just curious - any one have any idea what the ref level would be on the BBC iplayer?

when I play back on my system seems like setting the volume on iplayer to '7' seems to be the right level for my speakers..

I just moved countries- and most of my gear is in a container at the minute - so have just bought some new speakers for a job I am working on - dont have a meter for calibrating..

I played some stuff back I mixed to -24 LUFS -and it all seems comfortable and at the same loudness by my ear at least..


any one care to comment? thanks

I delivered to iPlayer an EBU R128 mix at -23.

[8dB.co.uk]

Even content only going out on All4 (channel 4's iplayer equivalent) has to be -23lufs R128. Remember that most supposedly online only content makes it on to terrestrial TV at some point.

Sent from my D5803 using Tapatalk

[tom_lowe]

Originally Posted by 8dB.co.uk

Even content only going out on All4 (channel 4's iplayer equivalent) has to be -23lufs R128. Remember that most supposedly online only content makes it on to terrestrial TV at some point.

Sent from my D5803 using Tapatalk

Same on the picture front, they expect DPP compliant AS-11 packages too, which really threw the producer expecting to deliver an H.264!

[fork-media]

great info. thanks appreciated!

This job went back to china in the end so they thru out the 24 LUFS and requested crushed to hell -11 dbFS

have to say the -23 R128 on iplayer and the like is quite nice to listen to compared ☺

[fork-media]

revisiting this thread since having a batch of jobs that are to loudness specs.

I just realised a great feature on my focusrite saffire is a "loopback"

has enabled me to digitally answer a few of my own questions

can confirm if you whack the iplayer to 11 the programs seem to be 23 or 24 LUFS consistantly..

this has been great for me to confirm my monitoring levels in my new room,,


it has raised a few questions tho.. some parts of say " the met" opening does have a couple of peaks in SFX that do hit -19 or -20 LUFS


_how often can I do that and get away with it?


I am seeing quite a lot of variation on the 4OD service,, adverts do on the whole seem to be at -24LUFS - altho some of the CH4 announcements can be noticeably lower.

but some of the programs "the handmaids tale " for instance seems to be going over quite a lot - -18 or so during the recap..

I am working on an animated series that involves excessive gunshots explosions etc and is challenging to get a "feel" and remain inside specs..

[Cheesehead]

Peaks are ok as long as the overall piece remains in spec.

I find R128 pretty pleasing and liberating to mix to generally.

However it does seem that any sound with a white noise content is difficult ie waterfall, fountain or steam. In those frequencies it really eats your loudness headroom quickly and they sometimes have to be turned down to almost inaudible when over music, if you want to keep a constant music level.

Music to dialogue levels can be chalenging too, but then they always were.

[fork-media]

so instantaneous overs are ok as long as the long term LUFS stays with in spec?

I have resorted to carving eq curves out of music sometimes. has helped legibility when slamming it up against.. I am probably wanted for cruelty to audio somewhere -

[Cheesehead]

Yes, Its only an "over" if it exceeds whatever delivery specs you're given.

R128 with no specified short term value can peak up to -1db True peak and still be in spec.
Then its just down to how much overall compression you're applying to the mix. With a compressed mix like I used to do for UK TV trailers you won't get anywhere near -1db.

With the carving out space in music do you put it back flat when the VO stops? Some kind of side-chained dynamic EQ could be the way forward.

Composers would hate it, but I won't tell them if you don't.