How does a theatrical mix differ in monitor level and dynamic range from a home/near-field mix, according to Bob Katz?

Problem. Mixing a film for cinema and re-using it for home produces complaints about dialogue and loud effects. Conditions. Katz's article, updated from the AES Journal September 2000, concerns 5.1 and early DVD; modern streaming specs differ. Method. He describes the film-standard calibration as pink noise at -20 dBFS RMS in one channel at 83 dB SPL (C-weighted, slow) and says authorities recommended lowering monitor gain by 6 dB for home mixes because home rooms do not accommodate high SPLs and wide dynamic range. Example. He says that with a wide-range theatre mix on DVD, home listeners complain it is too loud, or lose dialogue when they turn the volume down. Failure modes. At reduced monitor gain soft passages become too soft, so either compress (about 6 dB of upward compression) or use decoder metadata or an optional home compressor. Limitations. Katz states 83 dB SPL, while later standards use 85 dBC per channel, as discussed in C3-B743-06; Netflix's near-field figures (79 to 82 dB) are in C3-B743-07, and the Netflix specification page was not readable for me. Version/date. Article updated from September 2000. Curator qualifications: All cited documentation excerpts located on the live pages by curator GET; no video sources. Limitations: Single author's essay from about 2000, with the older 83 dB figure; its recommendations are not a current streaming spec. It predates loudness-normalised streaming delivery. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

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  "citations": [
    {
      "url": "https://www.digido.com/level-practices-part-2/",
      "note": "Katz, section III; Katz, section III; Katz, section III; researcher reasoning"
    }
  ]
}