6

The basics are thus: "What are the specifications of the broadcaster you're delivering to?" You're asking us to distill a very complex process down into a "paint by numbers" process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you'...


2

The harshness of the compression is similar to API's boxes. It might be one, although I never can remember the number of model. The cool "damaged" sound are most certainly an artifact from (very likely Cedar) noise-reduction, EQ, and probably a mild distorsion to make it pop in the trailer. It's pretty safe to say it will sound different in the final film. ...


1

An Optical to RCA adapter will work fine. There will not be any noticeable latency. Just make sure your amplifier takes 1/4" or RCA input.


1

All of these options others have listed here are great. Just wanted to add that iZotope's Insight plugin is also excellent for monitoring True Peak loudness in accordance with EU broadcast standards. It's expensive, but it's also a pretty kickass metering plugin in general, it's frequency analysis is fantastic as well.


1

You have a few different options. You can use some gates on the lapel mics and set the threshold high enough to cut the TV bleedover, but not the character dialogue. This has the downside of potentially sounding unnatural, and you'll have to tune the attack and decay of the gates to get the speech to not sound choppy as it cuts in and out. If the TV sound ...


1

Look up Ebu R-128 you need to be using the 'LUFS' scale for delivery. Different normalizations are required depending what continent you're on.


1

Hire a composer to write music that fits. The extra polish that results can count for a lot.


1

End it with someone talking example: commercial starts -> music plays -> commercial ends -> "Jai jian real estate, because home is where the heart is" :P


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