[Ryan Frias]

Hi Jess,

In order to meet their spec for -24 LKFS, which to me sounds like you’re trying to hit a broadcast specification (?), you would need to have proper metering/plugins as well as proper 5.1 monitoring and calibration to mix the audio to. Along with a spec of -24 LKFS, do they have a maximum “True Peak” or “Peak” spec? This can be something like -6dBTP.

It’s much more efficient to do audio work outside of a video editing platform, using Pro Tools, Nuendo, Audition (?) etc. due to the necessary tools (Compression, EQ, Limiting, etc.) it takes to meet those specific specs. At the very least, you would need a LKFS metering plugin such as iZotope Insight and a True Peak limiter such as Avid Pro Limiter.

Typically, a post sound person would handle this all since they have a properly calibrated 5.1 room set anywhere between 79 to 85 dBSPL, and they probably have specialized metering such as iZotope Insight to monitor the LKFS spec and True Peak spec as they mix in the specified 5.1 format.

There’s a lot more to this but that’s the general idea.

-Ryan

[Ryan Frias]

I’ve been able to achieve that effect with a low pass EQ/filter and reverb (set to small room or a “car” program) without any issues. I’ve done many scenes like that where there’s a party on the other side of the door or even an outside car going by with music blasting through the neighborhood, all muffled. All achieved with EQ and possibly reverb.

Is the music cue source?

[Ryan Frias]

what tracks are playing exactly? There might be more elements that you’ll need to add to sell the idea. Perhaps some sound effects (if not already present) and maybe some time stretching with pitching delays applied to all elements? Hard to tell without looking/listening to what’s there

[Ryan Frias]

You can try to use an EQ (automating the hi cut and low cut) and maybe sweeten it with reverb if necessary. There might be some cool delays that you can experiment with.

[Ryan Frias]

Have you tried to export an AAF?

[Ryan Frias]

Did the recording have more base before you started the noise reduction process? If so, you might’ve went to far with the processing.

You can try to throw some EQ on the low end to get what you’re after.

[Ryan Frias]

Hi Patrik,

Have you tried to export an audio-only EDL for the dialog tracks? The post sound department should be able to use that to assemble the original dialogue – that assumes Premiere exports the audio’s original timecode from the merged clip.

Best,

Ryan

[Ryan Frias]

I honestly can’t remember. You can send me test AAFs if you want to try to see if it still exports disabled clips. And yes I do recommend deleting disabled clips. It might do more harm than good?

[Ryan Frias]

If you can’t find Automatic Duck, then you can give the post sound department an audio EDL, which FCP exports natively, for only the dialogue tracks. They should know how to assemble the dialogue tracks with this EDL..

For the temp FX and Music tracks in Final Cut, you can just use FCPs native OMF export to send that to the sound department.

[Ryan Frias]

What assistant picture editors usually do is duplicate the main sequence and call the duplicate “For Post Sound” or something similar. In this duplicated sequence, disabled clips are deleted and anything else not needed are deleted from the timeline. You can then use Automatic Duck to export this sequence.