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Essentials of DVD Production
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the home environment Establish consistent audio levels and equalization throughout all audio on the disc, including menus and supplements This is especially important with multiple audio tracks from various sources, since the viewer will be able to jump at will between them, and will be bothered by inconsistencies in level or harmonic content Resist the temptation of locking out the audio key on the remote control, which will only annoy your viewers Instead, get all sources in PCM format so they can be matched and harmonized before being encoded Tips and Tricks The following tips will assist you in preparing the audio assets:
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Make sure timecode is included with the audio so that it can be synchronized with the video It s almost always a good idea to mute the audio for a second or so at the beginning of each segment This ensures that the player (or receiver) doesn t clip the audio as it begins the decoding process If you are doing 51-channel Dolby Digital encoding, or using multichannel DVD-Audio PCM tracks, test the downmix If you do your own encoding, request the Dolby Digital Professional Encoding Manual from Dolby Labs
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The Zen of Subwoofers If you understand the proper use of the LFE channel, you belong to an elite minority As Dolby Labs has pointed out over and over, apparently with little success, LFE does not equal subwoofer All 5 channels of Dolby Digital are full range which means they are just as capable of carrying bass as the LFE channel Most theaters have full-range speakers They don t need separate subwoofers since most of the speakers have a built in subwoofer In the home, it s the responsibility of the receiver or the subwoofer crossover to allocate bass frequencies to the subwoofer speaker This is not the responsibility of the DVD player (unless it has a built-in 51-channel decoder) or of the engineer mixing the audio in the studio The LFE channel is heavily overused in most audio mixes A case in point is a certain famous movie released on laserdisc with Dolby Digital 51 tracks in which the booming bass footsteps of large dinosaurs were placed exclusively in the LFE channel When downmixed for two-channel audio systems, the bass was discarded by the decoder, leaving mincing, tiptoeing dinosaurs; this was not the fault of downmixing or the decoder It could have been fixed by a separate 2-channel mix, but it also could have been fixed
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with a proper 51 mix or a proper 50 mix Had the footsteps been left in the main 5 channels, which are all full range, the bass effects would have come through properly on all home systems Dolby Digital decoders ignore the LFE channel when downmixing This is because the typical stereo or 4-channel surround system doesn t have a subwoofer Again, this does not mean that the LFE channel represents the subwoofer, only that the extra oomph intended to be supplied in the LFE channel is inappropriate and could muddy the audio Dolby Digital decoders all have built-in bass management, which directs low-frequency signals from all six channels to the subwoofer, if one exists Therefore, the LFE channel should be reserved only for added emphasis to very low frequency effects such as explosions and jets2 As illustrated by the tiptoeing dinosaurs, moving low-frequency audio to the LFE channel does not make the soundtrack better in the home environment This mistaken approach is what has caused complaints about the LFE channel being omitted in downmixing Nothing important in a film soundtrack, including low-frequency audio, should ever be moved out of the main 5 channels Isolating low-frequency audio in the LFE channel does not remove any sort of burden from the center and main speakers since the built-in bass management already does this It s possible to mix all subwoofer sounds in Dolby Digital 50 without an LFE channel at all Some theatrical releases are mixed this way Such a mix will play the same in 51-channel home theaters as in cinemas, since the decoder and receiver automatically route the bass to the speakers that can best reproduce it The 1 channel is present only for an extra kick that the audio engineer might decide should only appear in full 51 audio systems Slipping Synchronization An occasional problem with DVD is lack of proper synchronization between the audio and the video (see 7 for more detail) Players are partly to blame for the problem, but things can be done during production to keep synchronization tight Check the timecodes on the audio to make sure they are correct A handy trick for testing audio sync, especially when no timecodes exist and it has to be aligned by hand, is to bump the audio track forward several frames, check playback, bump it back several frames from the original position, and check playback again If moving it one direction had little or no effect, while
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Roger Dressler, Technical Director for Dolby, has remarked that the LFE channel should be renamed to the explosions and special effects channel in order to avoid confusion
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