CAS Quarterly

36 FA L L 2 0 2 1 I C A S Q U A R T E R L Y try and go ahead and achieve a mix that satisfies, first and foremost, their initial [distribution] requirements of streaming, but will also play in a theatrical environment. Fortunately, at The Dub Stage, I have a room that translates up and down for theatrical and streaming or television. So, it is pretty easy for me to switch back-and-forth through monitoring and hit those target areas and compare back-and- forth." He sees a trend where streaming features wish to avoid the Theatrical Dolby Atmos licensing fees and may contract a streaming Home Theater Atmos mix but limit their theatrical mix to 5.1. He explains that while streaming services have precise target numbers, you can adjust your monitoring levels. "You have to take the experience you have gotten over the years to make sure you satisfy, not just the numeric requirements, but also the listening [experience] and overall clarity of dialogue to play back at that level at home." I would also say that since my approach doesn't change, it is easier for me to go between both formats." THEATRICAL Historically, theatrical features tend to provide more time and focus on achieving the sonic vision of the filmmaker through a schedule of temp dubs, pre-dubs, and final dubs. It is unheard of for a theatrical mix to require a loudness target. Mix technician Brian Tarlecki attests, "There is no true spec to hit in theatrical. It is far more dynamic and catered to what the filmmaker needs to happen. Whereas all broadcast/streaming projects are required to hit a certain number peak or dialogue-wise with a variance above or below that given number. That number is provided by the delivery requirements. This is for consistency across all content regardless of different crews." Peak limitations are standard, but appropriate loudness is treated much more subjectively, and mixes are conducted while monitoring at 85 dB. Tom Burns expounds, "Since our environment is a theatrical A typical streaming/broadcast feature or episodic might require the following as deliverables: • A Full Mix Print • Mix Minus Narration • Music and Effects Mix (For scripted material, this will be fully filled, containing additional Foley and SFX editorial to replace production effects married to dialogue present in the full mix.) • Associated stems or sub- mixes of the music, dialogue, and SFX elements. Marti Humphrey CAS at The Dub Stage All files will need to be compliant with the specified loudness and peak specs, slate timings, and logo requirements. If the project calls for Dolby Atmos, 5.1, and 2.0 versions, a different set of the above-listed files are created to represent each of these mix formats. For Home Theater Atmos, an ADM (Audio Definition Model) or DAMF (Dolby Atmos Master Format) is typically required. Additionally, to participate in festivals, qualify for theatrical categories for award season, or to capitalize on a shorter theatrical run, some streaming and broadcast features will ask for a theatrical mix as well. Re-recording mixer and owner of The Dub Stage, Marti Humphrey CAS (The Grudge, The Banker, Proven Innocent, Turner & Hooch), explains that he has faced streaming feature clients aiming to create a single mix that will translate in a theatrical environment and nearfield environment based on budgetary and time limitations. "Typically, we

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