Level boosting my 5.1 master mix?

[abes]

Hi,

I've been given a film to mix in 5.1 from stereo. The mix is well balanced and just needs minor tweaks here and there, but the overall sound of the film is way too quiet.

Whats my best option for boosting the main master levels. I've tried a compressor/limiter, but noticed that I loose a lot of dynamics in some of the songs in the film (it's a musical!). There's only so much I can rise the master fader (yes, it's that quiet).

Is this just a stupidly obvious answer I'm missing

[EarHole]

Gain plug in?

[Postman]

I have a"stupidly obvious" question for you. How much headroom does your original mix have? If for instance the loudest peak moment is -2dbfs, then you can only raise the level 2 db to raise the mix's overall level before digital clipping. In order to raise the loudess any more than that you simply must raise volume of the softer sections without exceeding the peak level. You can do that with compression and limiting and/or with fader moves and automation. You can make those moves on submaster channels, master mix channel, or on individual tracks as you choose. There is no "one-click" trick.

This kind of thing is done all the time when preparing a film for home/DVD release that was originally mixed for film theater. I recommend you never exceed -1dbfs, to give a margin of safety to later stages of the production process. And of course, if you are remixing for broadcast then you are in over your head already and you should stop until you understand loudness meters and how to use them.

[abes]

I'm using the Waves Dorrough plug-in set to 14 ref level. There has been no 'red' clipping and the levels are peaking at -9 dbfs so I do have quite a bit of head-room.

I will try and boost all my softer signals, but then theres the dynamics of the scenes to consider. I guess this is what makes our job fun.

Not mixed for broadcast yet, just dvd and cinema, so not really sure about specific levels. Am I right in saying different tv stations have different level requirements?

[tom_lowe]

Originally Posted by abes

I'm using the Waves Dorrough plug-in set to 14 ref level. There has been no 'red' clipping and the levels are peaking at -9 dbfs so I do have quite a bit of head-room.

I will try and boost all my softer signals, but then theres the dynamics of the scenes to consider. I guess this is what makes our job fun.

Not mixed for broadcast yet, just dvd and cinema, so not really sure about specific levels. Am I right in saying different tv stations have different level requirements?

When you're saying it's too quiet, what are you comparing it to?

[Postman]

Tom raises a great point. Describe better what the problem is. Your first post says the overall sound of the film is way too quiet. But, with peaks at -9 already, I would hardly classify that as "way too quiet" under most conditions. Now, if music is blasting in one scene while another scene's dialog is uncomfortably quiet, you probaby need to do some leveling. Otherwise, maybe not! Just because peaks are not at tip top full level is not meaningful. This is when signal "operating level" and room+speaker calibration become important. Are you listening in a room that has been reasonably well setup and level-calibrated? What are you comparing to? Have you been given a directive to raise the level to a certain specification?

[abes]

Originally Posted by tom_lowe

When you're saying it's too quiet, what are you comparing it to?

I'm not really comparing it to anything as such, its just when I brought in the wavs, and compared it to my foley, the original recorded dialogue wavs are very quiet, even when I boosted them via automation.

[abes]

Originally Posted by Postman

Tom raises a great point. Describe better what the problem is. Your first post says the overall sound of the film is way too quiet. But, with peaks at -9 already, I would hardly classify that as "way too quiet" under most conditions. Now, if music is blasting in one scene while another scene's dialog is uncomfortably quiet, you probaby need to do some leveling. Otherwise, maybe not! Just because peaks are not at tip top full level is not meaningful. This is when signal "operating level" and room+speaker calibration become important. Are you listening in a room that has been reasonably well setup and level-calibrated? What are you comparing to? Have you been given a directive to raise the level to a certain specification?

My room calibration has been set to the standards I have followed in other forums, while also using a db meter reader, so there should be no problem there.

Iv'e not been given direction as to what peaks to reach, but I think it's more of a personal thing, with regards to recording and playing back music tracks. In other words, getting the levels as hot as I can with recording artists.

[EarHole]

I think what everyone is asking is this:
As a fluid piece from one segment to another... how does it sound? is it all relative volume wise or are there specific parts that seem quiet?

If it sounds consistent as a piece then all you can do is rely on how your room was set up. If it has sections that seem quiet compared to other sections then it sounds like you haven't finished the mix yet.

[abes]

Originally Posted by EarHole

I think what everyone is asking is this:
As a fluid piece from one segment to another... how does it sound? is it all relative volume wise or are there specific parts that seem quiet?

If it sounds consistent as a piece then all you can do is rely on how your room was set up. If it has sections that seem quiet compared to other sections then it sounds like you haven't finished the mix yet.

Yes it's all relative and sounding level as a mix overall. I will probably double check my room calibration, but I think its just me making sure everything is perfect before I send it out.

Thanks.