Here are the short answers to your questions...
Yes... the downmix is part of the Dolby or DTS decoder built into the DVD player. It's not an option, if the Dolby or DTS logo is on it, it will do it.
I'm not from London, but any authoring house should be able to do this for you if you give them both sets of tracks - you need to have two separate ...
Look into the Avid webinars. They have a good number that are focused on post-production work. The ones w/ Scott Weber are particularly good, they just released a new one called Creating the Indie Film Soundtrack. It comes w/ a downloadable session, and it's all free (just requires registration).
All of my stem submasters run Limiters - something quick-response, transparent, and can take a beating like Maxim or L2007. Maximizers like the L1 or MV2 are too colorized for my liking and they let too much through.
And then a run a PT MasterFader (but with NO limiters) just to monitor meters on the overall stem summing - because you can have no peaking ...
Soundfield UPM-1. Lower budget solution Waves UM 225 or you could try Iosono Anymix. They all work best with stems though. Try the demos and see what works best for you. None of these are a "click a button and done product" though, then again, nothing in this field of work is, or rather should be.
DVD is MPEG2-PS (Programme Stream) codec with MP2 or AC3 audio in a VOB container. DVD is Standard Definition - so 25FPS at 720x576 for PAL countries.
H264/720p is NOT the DVD standard. If you want to send the customer a DVD-Data disc with an mp4 file on it, then that is fine, but you're simply using the DVD as a data storage mechanism. You can't stick ...
From the description, I'd say that the mixer qx1002 model which I also own
You can connect the macbook via usb and send the signal to mains by pressing th button labled USB/2tr to Main Mix, alternativly the signal can be send to phones only
Note that the mixer only has two preamps - so if you're pluging in acoustic guitars or microphones without external ...
Yes and no. The order is: L - R - C - LFE - LR - RR alright, but the LT and RT is for format mastering purposes only (not to be confused with the pre-mastering normally just called mastering in music), and not used in the actual 5.1-track at all. It is, however, used for the stereo-track and other similar applications.
The AC3/DTS/etc. coding comes after ...
If you want maximum quality, you could use linear PCM audio with the DVD. It is technically part of the specification, but it may not work in every player as support is somewhat spotty. The next best is DTS and after that MP2 in terms of data rates that are supported.
Your best bet is probably to include a PCM audio track as well as a DTS or MP2 stream. ...
The best way to start is to read the basics on Nils Liberg site (http://nilsliberg.se/ksp/scripts/tutorial/) and follow VI-Control Kontakt Scripting section of their forum (http://www.vi-control.net/forum/viewforum.php?f=65)
Another good beginners resource is:
Or from NI themselves:
I'll stop at this point, but a bit of a basic ...
It's been a while since this was posted and as it has had no replies I thought I would tell you I know. Hopefully others will fill in additional details.
AC-3 file has 48KHz sample rate, 16-bit resolution and the data is encoded using a lossy compression format. As far as I am aware 24-bit data is not supported and the data cannot be left unencoded (PCM), ...
There aren't really any specs for the straight to video market that I'm aware of. I typically go for a film style/non-spec mix with a smidge less dynamic range; since it's primary viewing location is a living room, not a theater. I'm interested to hear what other people do. So, thanks for bringing this topic up.
It's highly possible the tone wasn't detectable on the stage if it was large enough to be running an X-Curve. And thus if the film wasn't re-mixed for DVD/BluRay as they normally are, it's possible that tone which was always present is now audible in a near-field/mid-field home theater environment. Don't know this for a fact, could be a possibility though.
I agree with FAO that relying on a limiter on the master bus is largely a music mixing practice that has little applicability to film mixing.
For a really good overview of calibration of monitor levels and how level management is being approached in the broadcast industry, go see ATSC.org web site and check out their paper on ATSC Recommended Practice: ...
one of the problems when working digitally is that the dbFs scale will give you no reference about how loud a sound is and if your signal is too hot, clipping, it will not be compressed and distorted in a harmonically way,like it would happen on tape, but because you are running out of 0 and 1 to process the signal it will sound very ugly.