3210
Audio Post Production

 

Speaker Calibration

Photo of SPL meter. You will need one similar to this to calibrate your control room to mix sound for filmMany in the industry suggest mixing sound for a film at 85dB, but in smaller room environments, this can be too loud, causing ear fatigue and other issues.  I suggest mixing at 79dB, and when you think you are done, do one or two passes through at 85dB to double-check.  This should give you a fairly accurate listening environment without ear fatigue.  In larger rooms, you may be able to mix at the 85dB level, and in really big rooms you would calibrate each speaker individually.  Now when you listen through the program if elements are too loud bring them down, too quiet bring them up. Trust your ears. If your picture editor is experienced and good at audio restoration, you may get a dialogue track with good levels and already cleaned up.  There is a good chance though that you are going to be left with the job of restoring the audio quality of the dialogue track.  Here is a shortlist of the tasks you will undertake, and the order they should fall in:

Importing Session Files

Image of Logic Pro X on a computer screenMost likely your picture editor is going to want to send you an OMF or AAF session file with all the audio data.  I have worked in three different DAWs for post-production, Ableton Live, Logic Pro, and Pro Tools, and unfortunately only one of the three imports the OMF and AAF files properly…. Pro Tools.  Logic is super close.  It imports the tracks and the automation, but not the track names, and that can be super frustrating when you have a large session to work on.  Ableton Live doesn’t accept these files at all.  Pro Tools shows it’s strength in this area.  You import the AAF and there you are with all your tracks laid out with the proper names, and all the automation.  This can save you a bunch of time.

If the price tag on Pro Tools is too steep, Logic would be my second choice for audio post-production, but you will have some cleanup and organizing to do before you really get to start working.  Another weakness with Logic is that if you have to insert frames because the director or editor decided to make changes to the picture lock, Logic can be a little finicky with the way it handles the frame count and insertion.  For better or worse this is another area where Pro Tools excels.  Just type in the frame numbers and you are good to go when working with spotting in Pro Tools.

Normalize your dialogue

Level out all the dialog so it falls within the target range of -11db to -10db.  This is a rough guide point, quiet sections may fall a tiny bit below this to -11.5db, but I suggest not going above -10db for your max dialog peak.  Measure this with the dialog solo’d.  I tend to group all of the dialog tracks to a bus for control of all of them in case I need it, this can be handy to use as a side chaining source key for tastefully compressing background music.

Audio restoration

 

Once you have normalized all your dialog to that  -11db to -10db range, you will most likely find a lot of undesirable background noise.  This will vary from generic noise floor hiss, to crew talking in the background, or crew dropping things in the middle of a scene, or crew footsteps in the background during quiet scenes, or large motor vehicles driving by, or planes flying over head, generators or air conditioners kicking on, or even the mic cable not being taped to the boom and rattling against it… I think you get the picture.

ADR or Looping

After all your restoration work you may encounter some dialog that is just irreparable and completely unusable.  You will have to get the actors into the studio to re-record their lines.  This is called ADR (Automatic Dialog Replacement) or looping.  This is a trick in itself as you need the new dialog to sync up with the lip movements on screen.  I will write more about the process of ADR at a later date, but in summary, you will need a quiet studio, preferably a larger room to record in, a screen for the actor to watch the scenes on, and preferably a screen with the wave files visible to them as well.

Foley | Sound Design | Music

Now that you have fixed all the problems with your dialog tracks, you can reward yourself by doing some Foley | sound design work and Music. Make those fight scenes really grab your attention, add footsteps, doors closing, car and other vehicle sounds.  Have fun in this section.  You can then add music to capture the emotion of the audience. I would suggest that your max peak for your loudest effects be around -5db for the loudest stuff like explosions and gunshots, but mix to your preference.

Audio Mix Level Targets

One of the most popular questions that I see when people are getting into mixing sound for the film is; “What should my levels be?”.  One test you can do to answer the question for yourself or to validate the answer I provide here is to pull a .mov or .mp4 version of a Hollywood large budget movie into your DAW and watch your loudness meters as the movie plays.  You can see the levels where the dialogue sits, the music, and the sound effects.

Here is what I learned from that experience summarized in one easily digestible chunk. All levels dBFS peak.

  • Max peak: -2db  (This was absolute on everything that I tested probably because of BS1770-3/A85)
  • Loud sound effects (explosions, gunshots): -3db to -2db
  • Louder soundtrack or score music not competing with dialog max:  -5db to -4db
  • Dialog level: -11.5db to -10db

Use these as reference points.  Start with getting your dialogue levels first, and then build everything else around that.  These are not hard rules (aside from the max peak of -2db) but a foundation on which to build your audio mix.  I found this to work consistently well for me and puts me right in the ballpark to be compliant with the broadcast standards established by the CALM act (BS1770-3/A85)

 

 

If you are part of the vast audio production community that provides content for broadcasters or streaming services, you are constantly faced with different requirements to comply with various delivery standards.

In recent years, adhering to specific loudness standards has become increasingly important, and these days, loudness is part of practically any audio spec sheet.

But depending on the distributor, geography, content type and more, the loudness LUFS requirements can differ, and it can be hard to find out exactly which standards are relevant for each situation.

Please note that the present list may not be complete or 100 % updated at all times. Delivery specifications and standards may be updated occasionally or new ones may emerge, and we will of course update this page accordingly as soon as this should happen and it comes to our attention.

 

Global

 

    Recommendation for Loudness of Audio Streaming and Network File Playback TD-1004
  Loudness Type AES Streaming
  Integrated (I) –16 to –20 LUFS
  True Peak (TPmax) –1 dBTP
  Reference: AES Technical Document (befindet sich in Überarbeitung)
  Please note: A −20 LUFS lower limit has been chosen as the lowest current practical value for streaming, as some current mobile devices have insufficient gain to allow the common production targets of −23 or −24 LUFS to be heard at a satisfying loudness even if the volume control is turned all the way up.
 

 

 
    CTA: Loudness Standard for Over the Top Television and Online Video Distribution for Mobile and Fixed Devices
  Loudness Type ANSI/CTA-2075
  Integrated (I) Per AES-71, Annex D *
  Reference: ANSI/CTA Standard
  * The AES71 RP is recognized in ANSI/CTA-2075 so that content produced and distributed using its guidelines will be compatible with the various benefits of ANSI/CTA-2075.
AES71 content playing back on a device compliant with ANSI/CTA-2075 will offer an optimized listener experience regardless of the listening transducer device (micro-speaker, headphone, television, home theater) or environment (indoor or outdoor).
  CTA and the CTA logo are trademarks of the Consumer Technology Association, U.S.
 
    Recommended Practice Loudness Guidelines for Over the Top Television (OTT) and Online Video Distribution (OVD) AES71
  Loudness Type AES Streaming
  Reference: AES71 Standards Document
  Please note: AES71 recommends the use of regional television loudness values as mentioned below and refers to the regional standards. In addition, the Integrated Loudness value shall not exceed –16 LUFS/LKFS and –1 dBTP (TPmax) (not applicable for Japan).
 
    Standard ATSC A/85
  Integrated (I) –24 LKFS (±2.0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: ATSC A/85
  Please note: Full program Mix Measurement is recommended for Short From Content, Anchor Element (Dialog) Measurement is recommended for Long Form Content (conditionally Full Programm Mix Measurement)
 
    Standard EBU R128
  Integrated (I) –23 LUFS (±0.5 LU)
  Short Term (Smax) –18 LUFS/+5 LU
  True Peak (TPmax) –1 dBTP
  Reference: EBU R128
  Please note: Anchor Element Measurement for Long Form Content is conditionally permitted for wide dynamic range content. Short Term value is valid for Short Form Content only.
 
    Standard ARIB TR-B32
  Integrated (I) –24 LKFS
  True Peak (TPmax) –1 dBTP
  Reference: ARIB TR-B32
  Please note: Anchor Element Measurement is not permitted for any Content Form.
 
    Standard OP-59
  Integrated (I) –24 LKFS (±1.0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: Free TV Operational Practice
  

 

 
    Sony Computer Entertainment Platforms
  Loudness Type ASWG-R001 Home
  Integrated (I) –24 LKFS (±2,0 LU)
  True Peak (TPmax) –1 dBTP
  Reference: ASWG-R001

 

 
    Portable Sony Computer Entertainment Platforms
  Loudness Type ASWG-R001 Portable
  Integrated (I) –18 LKFS (±2,0 LU)
  True Peak (TPmax) –1 dBTP
  Reference: ASWG-R001

 

 
    Amazon Alexa – Online Streaming
  Loudness Type Amazon
  Integrated (I) –14 LUFS
  True Peak (TPmax) –2 dBTP
  Reference: Alexa Skills Kit
  Amazon, Alexa and all related logos are trademarks of Amazon.com, Inc. or its affiliates.

 

 
    Amazon Music – Online Streaming
  Loudness Type Amazon Music
  Integrated (I) –14 LUFS
  True Peak (TPmax) –2 dBTP
  Reference: Alexa Skills Kit
  Amazon, Alexa and all related logos are trademarks of Amazon.com, Inc. or its affiliates.

 

 
    Apple Music® – Online Streaming
  Loudness Type Apple Music
  Integrated (I) –16 LUFS (±1,0 LU)
  True Peak (TPmax) –1 dBTP
  Reference: Apple Digital Masters
  Apple, the Apple logo, Apple Music, iPod, iTunes, Mac, Macintosh, HomePod, AirPods and macOS are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. iTunes Music Store is a service mark of Apple Computer, Inc., registered in the U.S. and other countries.

 

 
    Apple Music® – Immersive Audio
  Loudness Type Apple Music Dolby Atmos
  Integrated (I) –18 LKFS (±1,0 LU)
  True Peak (TPmax) –1 dBTP
  Reference: Section Immersive Audio Source Profile listed in Music Audio Content Profile of Apple’s iTunes Video and Audio Asset Guide 5.3.7
  Apple, the Apple logo, Apple Music, iPod, iTunes, Mac, Macintosh, HomePod, AirPods and macOS are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. iTunes Music Store is a service mark of Apple Computer, Inc., registered in the U.S. and other countries.
Dolby, Dolby Atmos and the double-D symbol are registered trademarks of Dolby Laboratories Licensing Corporation.

 

 
    Apple Podcasts® – Online Streaming
  Loudness Type Apple
  Integrated (I) –16 LKFS (±1,0 dB)
  True Peak (TPmax) –1 dBFS
  Reference: Apple Podcasts Best Practices
  Apple, the Apple logo, Apple Music, Apple Podcasts, iPod, iTunes, Mac, Macintosh, HomePod, AirPods and macOS are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. iTunes Music Store is a service mark of Apple Computer, Inc., registered in the U.S. and other countries.

 

 
    Deezer – Online Streaming
  Loudness Type Deezer
  Integrated (I) –15 LUFS
  True Peak (TPmax) –1 dBTP
  Deezer and the Deezer logo are trademarks or registered trademarks of Deezer S. A., France 

 

 
    Disney Home Entertainment – Online Streaming
  Loudness Type ATSC A/85
  Integrated (I) –27 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Please note: The Integrated (I) loudness is a speech-gated measurement or as it is also called a dialog intelligence based measurement.
  Disney and the Disney logo are trademarks or registered trademarks of Disney Enterprises, Inc. for Walt Disney Studios Home Entertainment is a division of The Walt Disney Company.

 

 
    HBO Home Office Box – Online Streaming
  Loudness Type ATSC A/85
  Integrated (I) –27 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Please note: The Integrated (I) loudness is a speech-gated measurement or as it is also called a dialog intelligence based measurement. 
  HBO Home Box Office is a company and the HBO logo is a trademark of WarnerMedia Entertainment.

 

 
    Netflix – Online Streaming
  Loudness Type Netflix
  Integrated (I) –27 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: Netflix Sound Mix Specifications
  Please note: Netflix Integrated (I) loudness is a speech-gated measurement or as it is also called a dialog intelligence based measurement. 
Netflix recommends a Program Loudness Range between 4 and 18 LU and a Dialog Loudness Range of 7 LU or less.
  Netflix and the Netlix logo are trademarks or registered trademarks of Netflix Inc., U. S.

 

 
    Spotify – Online Streaming
  Loudness Type Spotify Loud
  Integrated (I) –11 LUFS
  True Peak (TPmax) –2 dBTP
  Reference: Spotify for Artists
  Spotify and the Spotify logo are trademarks or registered trademarks of Spotify AB, Sweden 

 

 
    Spotify – Online Streaming
  Loudness Type Spotify
  Integrated (I) –14 LUFS
  True Peak (TPmax) –1 dBTP
  Referenz: Spotify for Artists
  Spotify and the Spotify logo are trademarks or registered trademarks of Spotify AB, Sweden 

 

 
    STARZ – Online Streaming
  Loudness Type ATSC A/85
  Integrated (I) –27 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Please note: The Integrated (I) loudness is a speech-gated measurement or as it is also called a dialog intelligence based measurement. 
  STARZ and the STARZ logo are trademarks of Starz Entertainment, LLC, U. S.

 

 
    Tidal – Online Streaming
  Loudness Type Tidal
  Integrated (I) –14 LUFS
  True Peak (TPmax) –1 dBTP
  Tidal and the Tidal logo are trademarks or registered trademarks of Aspiro AB, New York

 

 
    YouTube – Online Streaming
  Loudness Type YouTube
  Integrated (I) –14 LUFS
  True Peak (TPmax) –1 dBTP
  YouTube and the YouTube logo are trademarks or registered trademarks of Google Ireland Limited 
 

 

 

 

Europe
 

    General TV Broadcast
  Standard EBU R128
  Integrated (I) Live –23 LUFS (±1.0 LU)
  Integrated (I) QC –23 LUFS (±0.2 LU)
  True Peak (TPmax) –1 dBTP (±0.3 dB)
  Reference: EBU R128 
 

 

 
    Advertisement TV Broadcast
  Standard EBU R128 s1
  Integrated (I) –23 LUFS (±0,5 LU)
  Short Term (Smax) –18 LUFS
  True Peak (TPmax) –1 dBTP
  Reference: EBU R128 s1 
 

 

 
    Streaming in Broadcast
  Standard EBU R128 s2
  Integrated (I) –23 LUFS*
  Integrated (I) –20 to –16 LUFS°
  True Peak (TPmax) –1 dBTP
  * Reference: EBU R128-2020 and EBU R128 s2
  ° Interim Distribution Loudness – Reference: EBU R128 s2
 

 

 
    Radio Broadcast
  Standard EBU R128 s3
  Integrated (I) –23 LUFS*
  Integrated (I) –20 to –16 LUFS°
  True Peak (TPmax) –1 dBTP
  Production and Program Exchange – Reference: EBU R128-2020 and EBU R128 s2
  ° Inconsistent Use – Reference: EBU R128 s3
  Please note: MPX limitation in some countries
ITU-R BS.412 and EBU Tech 3344 

 

 

 

 

Germany
 

    TV advertisement spots in Germany
  Standard EBU R128
  Integrated (I) –23 LUFS/0 LU
  Short Term (Smax) –20 LUFS/+3 LU
  Momentary (Mmax) –15 LUFS/+8 LU
  True Peak (TPmax) –1 dBTP
  Reference: ZDF-Werbefernsehen 

 

 

 
    TV Arte
  Standard EBU R128
  Integrated (I) –23 LUFS*
  True Peak (TPmax) –1 dBTP
  Reference: ARTE G.E.I.E.
  * For live content, a tolerance of ±1 LU is allowed.
  Please note: For trailers < 2 minutes: The maximum Short Term value (Smax) must not exceed –20 LUFS.

 

 

 

United States of America
 

    General TV Broadcast
  Standard ATSC A/85
  Integrated (I) –24 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: ATSC A/85
 

 

 
    Public Radio Satellite System® (PRSS)
  Standard PRSS Audio Loudness 
  Integrated (I) –24 LUFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: PRSS Audio Loudness Standard

 

 

 

 

Scandinavia (Denmark, Finland, Iceland, Norway, Sweden) 
    General TV Broadcast
  Standard EBU R128
  Integrated (I) –23 LUFS*
  True Peak (TPmax) –1 dBTP
  * For live content, a tolerance of ±1 LU is allowed.
 

 

 
    Advertisement
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Short Term (Smax) –20 LUFS
  Momentary (Mmax) –15 LUFS
  Max. Loudness Range 20 LU
  True Peak (TPmax) –3 dBTP
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

Denmark
 

    DR
  Standard EBU R128
  Integrated (I) –23 LUFS (±1,0 LU)
  True Peak (TPmax) –1 dBTP
 

 

 
    TV2
  Standard EBU R128
  Integrated (I) –23 LUFS (±1,0 LU)
  True Peak (TPmax) –3 dBTP
  Reference: Technical Specifications
  Please note: Be aware of special requirements for the first and last 2 minutes of a production

 

 

 

 

Norway
 

    NRK
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Max. Loudness Range 18 LU (1)(2)
  True Peak (TPmax) –3 dBTP (3)
  Reference: NRK Technical Standards
  * For live content, a tolerance of ±1 LU is allowed.
  Please note:
(1) LRA: Programmes should aim for an LRA of no more than 18 LU

 

(2) LRA Speech: Speech content in factual programmes should aim for an LRA of no more than 6 LU. A minimum separation of 4 LU between dialogue and background is recommended.

(3) TPMax: –3 dBTP Recommended. Programmes are deemed to have failed QC if level exceeds –1 dBTP.

 

 

 
    TV 2
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Max. Loudness Range 18 LU
  True Peak (TPmax) –3 dBTP
  Reference: HD Delivery for TV 2 AS
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

Great Britain
 

    BBC, BTSport, Channel 4, Channel 5, ITV, Sky, S4C, TG4
  Standard EBU R128
  Integrated (I) –23 LUFS (±1,0 LU)*
  True Peak (TPmax) –1 dBTP
  Reference: Technical Delivery Standards
  * For live content, a tolerance of ±2 LU is allowed.

 

 

 

 

BeNeLux Countries
 

    Belgium, The Netherlands, Luxembourg
  Standard EBU R128
  Integrated (I) –23 LUFS (±0,5 LU)
  Momentary (Mmax) –15 LUFS
  True Peak (TPmax) –1 dBTP

 

 

 

 

The Netherlands
 

    Advertisement
  Standard EBU R128 s1
  Integrated (I) –23 LUFS (±0,5 LU)
  Short Term (Smax) +5 LU
  True Peak (TPmax) –1 dBTP
  Reference: Ster Technical Specifications

 

 

 

 

Belgium
 

    rmb Belgium
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Momentary (Mmax) –15 LUFS
  True Peak (TPmax) –1 dBTP
  Referenz: Conditions Téchniques
  * For live content, a tolerance of ±1 LU is allowed.
 

 

 
    TV RTBF Belgium
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Max. Loudness Range 20 LU
  True Peak (TPmax) –1 dBTP
  Referenz: Spécifications PAD à la RTBF
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

France
 

    TV Broadcast France
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Max. Loudness Range 20 LU
  True Peak (TPmax) –3 dBTP
  Referenz: CST-RT-017-TV-v3.0
  * For programs longer than 2 minutes, a tolerance of ±1 LU is allowed.

 

 

 

 

Switzerland
 

    TV Switzerland SRF
  Standard EBU R128
  Integrated (I) –23 LUFS (±0,5 LU)*
  Max. Loudness Range 20 LU
  Reference: Technical recommendation SRG SSR
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

Austria
 

    TV Austria ORF
  Standard EBU R128
  Integrated (I) –23 LUFS (±0,5 LU)*
  Max. Loudness Range 15 LU
  True Peak (TPmax) –1 dBTP
  Reference: Technical Requirements ORF
  * For live content, a tolerance of ±1 LU is allowed.
 

 

 
    Advertisement TV Austria ORF
  Standard EBU R128
  Integrated (I) –23 LUFS (±0,5 LU)
  Short Term (Smax) –18 LUFS/+5 LU
  True Peak (TPmax) –3 dBTP
  Reference: Technical Requirements ORF Enterprise

 

 

 

 

Italy
 

    General TV-Broadcast
  Standard AGCOM 219/09/CSP
  Reference: AGCOM 219/09/CSP
  Please note: There is no absolute Target Loudness Level (I) in Italy at this time. Advertising and promos are monitored on a channel basis and must not exceed +1 LU from a very long term average channel loudness measurement (120 h sliding window). The Loudness measure is performed with a relative gate of –8 LU. The analysis window can be set in the range from 300 ms to 1000 ms.
 

 

 
    Advertisement
  Standard AGCOM 219/09/CSP
  Integrated (I) –24 LUFS
  Short Term (Smax) –15 LUFS
  True Peak (TPmax) –2 dBTP
  Reference: Discovery Media, AdStream, IMD, Adtoox Specifications

 

 

 

 

Portugal
 

    Portugal
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Short Term (Smax) –18 LUFS
  True Peak (TPmax) –1 dBTP
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

Malta
 

    Malta
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Momentary (Mmax) –15 LUFS
  True Peak (TPmax) –12 dBTP
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

Slovakia
 

    Slovakia
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Short Term (Smax) –20 LUFS
  Momentary (Mmax) –15 LUFS
  Max. Loudness Range 15 LU
  True Peak (TPmax) –1 dBTP
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

Romania
 

    General TV Broadcast
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Short Term (Smax) –20 LUFS
  Momentary (Mmax) –15 LUFS
  Max. Loudness Range 20 LU
  True Peak (TPmax) –3 dBTP
  * For live content, a tolerance of ±1 LU is allowed.
  Please note: AXN (Animax, Black, Crime, Sci Fi, White), Boomerang, History & TCM have a –10 dBTP restriction with EBU R128 in place.

 

 

 

 

Czech Republic, Poland, Estonia
 

    Czech Republic, Poland, Estonia
  Standard EBU R128
  Integrated (I) –23 LUFS (±0,5 LU)
  Momentary (Mmax) –15 LUFS
  True Peak (TPmax) –1 dBTP

 

 

 

 

Latvia, Lithuania
 

    Latvia, Lithuania
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Short Term (Smax) –20 LUFS
  Momentary (Mmax) –15 LUFS
  Max. Loudness Range 20 LU
  True Peak (TPmax) –3 dBTP
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

Russian Federation
 

    Russian Federation
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Short Term (Smax) –20 LUFS
  Momentary (Mmax) –15 LUFS
  True Peak (TPmax) –12 dBTP
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

China TV for Digital Broadcast
 

    CCTV TV Broadcast
  Standard GY/T 282-2014
  Integrated (I) –24 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: ITU-R BS.1770-4

 

 

 

 

Japan
 

    General TV Broadcast
  Standard ARIB TR-B32
  Integrated (I) –24 LKFS
  True Peak (TPmax) –1 dBTP
  Reference: ARIB TR-B32

 

 

 

 

Australia
 

    General TV Broadcast
  Standard OP-59
  Integrated (I) –24 LKFS (±1,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: Free TV Operational Practice
 

 

 
    ABC TV
  Standard ATSC A/85, CALM Act
  Integrated (I) –24 LKFS (±2 dB)
  Maximaler Pegel –6 dBFS
  Reference: Technical Specifications

 

 

 

 

New Zealand
 

    General TV Broadcast
  Standard OP-59
  Integrated (I) –24 LKFS (±1,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: Free TV Operational Practice

 

 

 

 

Canada
 

    General TV Broadcast
  Standard ATSC A/85
  Integrated (I) –24 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: ATSC A/85

 

 

 

 

Puerto Rico
 

    General TV Broadcast
  Standard ATSC A/85
  Integrated (I) –24 LKFS (±2,0 LU)
  True Peak (TPmax) –2 dBTP
  Reference: ATSC A/85

 

 

 

 

Brazil
 

    Brazil
  Standard EBU R128
  Integrated (I) –23 LUFS*
  Maximaler Pegel –12 dBFS
  * For live content, a tolerance of ±1 LU is allowed.

 

 

 

 

South Africa
 

    South Africa
  Standard EBU R128
  Integrated (I) –23 LUFS*
  True Peak (TPmax) –3 dBTP
  Reference: SABC Technical Standards
  * For live content, a tolerance of ±1 LU is allowed. 
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