Issue link: http://digital.copcomm.com/i/987065
70 S P R I N G 2 0 1 8 C A S Q U A R T E R L Y All of this means that the comparative level of the dialogue between our action-packed show vs. the comedy and the commercials is much lower—keeping in mind that people will set their volume controls to the storyline's dialogue anchor element, and with good reason. The concept falls apart further when we are asked to deliver -24 LKFS for the whole mix "act by act." This means that in an instance where an episode starts off with are substitutes for a dialogue-based anchor measurement for long-form content, either in a single act or across acts. This practice will not yield the intended results of the rules." For our own emphasis: full program mix measurements, when substituted for a dialogue anchor-based measurement, will not yield the intended results. So here is an example of what happens when we run two different style shows through the Dolby Media Meter and look at the LKFS measurements: First, let's measure a dialogue-driven, single-camera comedy show (The CW's Jane the Virgin), with no big action sequences or music. If we measure the representative dialogue as per the A/85 spec, we will get a figure reliably close to -24 LKFS for any given section of the episode. The overall average of an episode of the show with sections sampled at random is -23.2 LKFS, measured using 1770-1 (Fig. 1). If we then measure the entire episode across the whole mix, we'll end up with a similar reading of -22.5 LKFS Full Program 1770-3 (Fig.2) because the content is consistent and doesn't have a very wide dynamic range, being a dialogue-driven comedy and all. Going in and out of commercials with this measurement will sound fairly even because the commercials are measured across their entire length and content, and so the dialogue level of the show will be very close to that of the ads and transitions will be smooth. Contrast this, then, with an action-packed, dynamic show with explosions and gunfire (National Geographic's The Long Road Home, a shameless plug for one of our mixes). Episode 7 of that show came in at -22.6 LKFS at 1770- 3 (Fig. 3), when measured full program mix, yielding an isolated dialogue measurement of -29.8 LKFS (Fig. 4)! So if the dialogue were moved to the correct pocket of -24, the Infinite All (full program mix) value is actually -15.6, and completely out of spec! (Fig. 1) (Fig. 2) (Fig. 3) (Fig. 4)