Thank you! And sure, I've seen plenty of paid online courses that different people have made, but sometimes I wonder how many people are actually able to afford to pay for the skills before they begin doing the work. Or better yet, even realize that this is what they want to do full time or as a hobby before spending the money. All I want to show is that anyone can do this type of work with a minimal amount of gear and software as long as they put in the time and the hard work. So sure, maybe I'm missing out on some potential profits, but I much rather make money from my store soundtuts.com by providing additional useful content to people than just charging everyone up front. Anyways, just my two cents. Thanks for watching!

Also, I wanted to ask a few minor questions if possible, would you mind if I contacted you via email or even here in the comments? Let me know if you have the time and thanks again!

@@esmilges7 Sure, I'm always happy to answer a few quick questions. My email is in the About section of the channel. But if you really want to talk things through and have me check out your work and give notes, then it would be better to book a video chat session from my website: soundtuts.com. Anyways let me know!

Of course, happy to help!

Awesome! This is essentially why I started making these videos in the first place, because I couldn't find tutorials like these when I started film school. Glad they could help. Thanks for watching!

Awesome, glad it could help. Thanks for watching!

My pleasure! I'm glad the videos are helpful. Thanks for watching!

Thank you! Thanks for watching!

Thank you! That's very nice of you to say. Thanks for watching!

Bienvenidos de California! Thanks for watching!

Thanks for sticking around!

Glad they could help! Thanks for watching!

I hope so! Thanks for watching!

Glad the videos are helpful. Thanks for watching!

Thank you! Yeah even though it's fairly short, this one actually took quite a while to make. Thanks for watching!

Of course, happy to help. Thanks for watching!

Thanks for watching!

Thanks! I appreciate it! You're right, they both essentially do the same thing. I generally use the VCAs during pre-mixing to making large volume adjustments, while I used the Sub-mixers to make small adjustments during the final mix. Also, since VCAs affect each track's volume individually, then it's easier to keep the balance between tracks consistent while mixing. For example, this can help when you're trying to compress a group of tracks through a Submixer without changing the threshold. Hope that helps!

@@FilmSoundTutorials Thanks for your answer, I'm not super sure if I understood the last beat about compressors. If you don't want to change the threshold then the submix should be the best choice ? Thank you!

​@@kabed9413 I think this article explains what I'm trying to say better than I did: www.izotope.com/en/learn/the-difference-between-vca-and-sub-groups-in-mixing.html

You're welcome! Thanks for watching!

Happy to help!

Yes, generally I try to have -2db true peak headroom on my Printmaster file. And then for film, you're generally looking for an overall mix volume of -24 LUFS. I wouldn't say that all of my mixes always hit -2db headroom, sometimes it's more closer to -5db. But the overall LUFS mix volume is more important than hitting a specific peak value. Hope that helps!

No problem! Thanks for watching!

The overall mix for KZfaq should be -14 LUFS. youlean.co/how-to-edit-a-video-to-achieve-good-audio-loudness-on-youtube/ Hope that helps!

When you receive the original stems to dub it into a different language, the stems should be in the same format as the original English mix. So if they original mixed it in 5.1, you should get 5.1 stems. If you're only getting mono stems, something seems wrong. Hope that helps!

Cool, thanks for the clarification. Personally I think -14 LUFS is too loud for a film in general, especially for indie films that want to use the same mix for theatrical release and for KZfaq. So in those situations, I use -18 LUFS as a good middle ground and I'm sure KZfaq just normalizes it up to -14 LUFS when they upload it. And yes, specs vary wildly in the US and abroad, so that's why I mention people should research their target LUFS before mixing. But -24 LUFS is a good starting point for most films. Thanks for watching!

@@FilmSoundTutorials well it doesn't really matter which LUFS you are minxing to for the internet, because streaming platforms have got their normalization process. So that means that no matter what your final loudness is, it will be brought up or down according to the specific platform specs. For instance, if you mix to -18 for KZfaq, it will be always 4 db louder at the end anyway. And that is a problem for you because you will get undisired compression and the quality of your work will be negatively affected, since to gain those 4 db your audio will have 4 db of gain reduction. KZfaq true peak is -1 by the way, not -2. So, better you mix appropriately for each platform in order to avoid surprises. A common sense rule would be to mix everything for the internet at -16 LUFS, that's a good compromise.

@@marco_ronca You are incorrect. KZfaq never increases the loudness of anything, ever. It definitely does not compress/limit your audio either. KZfaq only turns down audio.

@@WillyJunior i actually picked the wrong example, but it was just to get the concept across. KZfaq doesn't in fact normalize audio, because normalization works by compressing the peaks and raising the LUFS to a set level. It goes both ways.

@@marco_ronca I think you're just saying whatever at this point. Normalization doesn't involve compression of any kind.

Thanks for the question! Yes, for larger films you'll have a wide variety of different mixes depending on where the film is going to be shown (movie theater, online, mobile, airplane, etc). I remember hearing that the newer Pixar films have over 100 different mixes because of all of the different languages they dub the film in, which then still need to be mixed into the various mediums above. Now for Murphy's Law, I did make two mixes, one at -24 LUFS for theatrical release and another at -18 LUFS for streaming. And we haven't had any volume problems with the theatrical mix when it's shown at the various film festivals. Here's a webpage that has the various volume specs for different mediums: youlean.co/loudness-standards-full-comparison-table/ Hope that answers your question!

Essentially yes, unless you use Izotope's Loudness standalone software which can auto level a mix, similar to WLM like you mentioned. I'm not really a fan of software auto fixing levels for me since that only fixes the Printmaster and not the individual Stems. But it can be helpful when rushed for time. And for your second question, the specs to the LUFS depends on the broadcaster. Some want average -23 LUFS for the whole show versus some want -23 for every section between commercial breaks (so more of a compressed mix). So it depends on where the piece is going to play. Generally -23 for the whole show is the norm though. Hope that helps!

Films mixed only for KZfaq should be -14 LUFS. What I imply in the video is if you're mixing a film for multiple playback locations (movie theater, KZfaq, phone) then I would recommend more around -18 LUFS since -14 LUFS will be way too loud for a movie theater. If the film is going to be shown in multiple locations, the best thing to do is ask your client for additional budget so you can make a different volume mix for each screen-type. But for low budget films, generally they don't have the budget, so I just shoot around -18 LUFS. Hope that helps!

WLM will work great as well, so there's no need for you to download the Youlean plugin. In my videos I just want to highlight that you don't have to spend money on plugins to do the work, so that's why I try to only mention free plugins when possible. Thanks for watching!

Film Sound Tutorials Perfect! I will use Dorrough (instead the BF plugin) in the Submasters and the WLM in the Master :^D

Not necessarily, a lot of the viewers on this channel are from developing nations. That's why I highlight free software whenever possible. Thanks!

Yep, -23 LUFS is what your final measurement should be for the entire film. So you can have scenes that are -16 LUFS are long as the overall film is -23. Hope that helps!

@@FilmSoundTutorials Thanks, that helps!

@@FilmSoundTutorials Thanks!!

Generally I shoot for -23 LUFS for a short film showing in a movie theater. Hope that helps!

@@FilmSoundTutorials Thanks again!

So EBU R128 and the old Dolby Dialnorm are two different ways to measure loudness. R128 was partly made because of the issues with Dialnorm. But no, R128 states that you should measure the average overall volume of the film, no just the dialogue, so that's why it's on the Master Fader. Here's a link to the R128 guidelines: tech.ebu.ch/docs/r/r128.pdf Hope that helps!

@@FilmSoundTutorials thank you!) i'll check this)))

@@FilmSoundTutorials i've cheked this link, thank you so mutch!) But i don't really get sense of metering of master bus. So we have scene without music, just dialogs and ambs in. And it be on the same "volume level"( -23 Lufs) like scene with the epic score and helicopter crashing? )))))

LUFS metering is all about measuring the average volume level of a film throughout the entire film. So some scenes with only dialog will be around -27 to -24 LUFS, and then actions scenes can get up to -14 LUFS. So when the volume throughout the entire film is averaged out, the soft and the loud scenes, it should be around -23 LUFS. Hope that helps!

​@@FilmSoundTutorials i used to mixing for tv only checking my DX aux, and usually got -23 in result without no problems. i thought i need to chek only my dx aux)))) but i will try checking master section in next project )

Oh, I'm not sure why the subtitles are not auto-generating for this class. It has the same settings as every other video on this channel. Not much I can do, sorry!

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