{"schema":"record/v1","id":"art_01M5P242DZZ8GRA9CD8GNF6F87","type":"article","revision":1,"etag":"\"r1.s0\"","title":"Why do theatrical films get turned down by AC-3 dialogue normalisation at home, and what dialogue levels does Katz give?","summary":"Problem. Theatrical dialogue sits louder than the -31 dialnorm target, so a film carried to AC-3 home delivery is reduced. Conditions. AC-3 dialnorm with the -31 dB FS (Leq-A) target Katz describes; dated to about 2000. Method. Katz says dialnorm brings all material to about the loudness of average spoken dialogue at -31 dB FS (Leq-A), and that theatrical films with dialogue at around -27 dB FS will be reduced by 4 dB. Example. Same page: rock may be cut by 10 dB or more while a string quartet is cut 4 to 5 dB. Failure modes. A reduced level does not by itself change dynamic range; the compression and Lo/Ro downmix issues are covered in C3-B765-01 and C3-B765-02. Limitations. The page expresses -31 as Leq-A and -27 as dB FS without detail; modern streaming uses integrated loudness (LKFS) targets from the platform spec, which I could not read. Version/date. Article updated from September 2000.","status":"active","body":{"text":"Problem. Theatrical dialogue sits louder than the -31 dialnorm target, so a film carried to AC-3 home delivery is reduced. Conditions. AC-3 dialnorm with the -31 dB FS (Leq-A) target Katz describes; dated to about 2000. Method. Katz says dialnorm brings all material to about the loudness of average spoken dialogue at -31 dB FS (Leq-A), and that theatrical films with dialogue at around -27 dB FS will be reduced by 4 dB. Example. Same page: rock may be cut by 10 dB or more while a string quartet is cut 4 to 5 dB. Failure modes. A reduced level does not by itself change dynamic range; the compression and Lo/Ro downmix issues are covered in C3-B765-01 and C3-B765-02. Limitations. The page expresses -31 as Leq-A and -27 as dB FS without detail; modern streaming uses integrated loudness (LKFS) targets from the platform spec, which I could not read. Version/date. Article updated from September 2000.\n\nCurator qualifications: All cited documentation excerpts located on the live pages by curator GET; no video sources.\n\nLimitations: One dated essay; the numbers use older metering conventions and are not a streaming specification. I did not verify the dialnorm target against the AC-3 specification text here.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.digido.com/level-practices-part-2/","note":"Katz, dialnorm section; researcher reasoning"}]},"categories":["T10","T13"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.digido.com/level-practices-part-2/","claim":"Problem. Theatrical dialogue sits louder than the -31 dialnorm target, so a film carried to AC-3 home delivery is reduced. Conditions. AC-3 dialnorm with the -31 dB FS (Leq-A) target Katz describes; dated to about 2000. Method. Katz says dialnorm brings all material to about the loudness of average spoken dialogue at -31 dB FS (Leq-A), and that theatrical films with dialogue at around -27 dB FS will be reduced by 4 dB. Example. Same page: rock may be cut by 10 dB or more while a string quartet is cut 4 to 5 dB. Failure modes. A reduced level does not by itself change dynamic range; the compression and Lo/Ro downmix issues are covered in C3-B765-01 and C3-B765-02. Limitations. The page expresses -31 as Leq-A and -27 as dB FS without detail; modern streaming uses integrated loudness (LKFS) targets from the platform spec, which I could not read. Version/date. 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Theatrical dialogue sits louder than the -31 dialnorm target, so a film carried to AC-3 home delivery is reduced. Conditions. AC-3 dialnorm with the -31 dB FS (Leq-A) target Katz describes; dated to about 2000. Method. Katz says dialnorm brings all material to about the loudness of average spoken dialogue at -31 dB FS (Leq-A), and that theatrical films with dialogue at around -27 dB FS will be reduced by 4 dB. Example. Same page: rock may be cut by 10 dB or more while a string quartet is cut 4 to 5 dB. Failure modes. A reduced level does not by itself change dynamic range; the compression and Lo/Ro downmix issues are covered in C3-B765-01 and C3-B765-02. Limitations. The page expresses -31 as Leq-A and -27 as dB FS without detail; modern streaming uses integrated loudness (LKFS) targets from the platform spec, which I could not read. Version/date. Article updated from September 2000.\n\nCurator qualifications: All cited documentation excerpts located on the live pages by curator GET; no video sources.\n\nLimitations: One dated essay; the numbers use older metering conventions and are not a streaming specification. I did not verify the dialnorm target against the AC-3 specification text here.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.digido.com/level-practices-part-2/","note":"Katz, dialnorm section; researcher reasoning"}]},"tags":[],"type":"article","links":[],"title":"Why do theatrical films get turned down by AC-3 dialogue normalisation at home, and what dialogue levels does Katz give?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Problem. Theatrical dialogue sits louder than the -31 dialnorm target, so a film carried to AC-3 home delivery is reduced. Conditions. AC-3 dialnorm with the -31 dB FS (Leq-A) target Katz describes; dated to about 2000. Method. Katz says dialnorm brings all material to about the loudness of average spoken dialogue at -31 dB FS (Leq-A), and that theatrical films with dialogue at around -27 dB FS will be reduced by 4 dB. Example. Same page: rock may be cut by 10 dB or more while a string quartet is cut 4 to 5 dB. Failure modes. A reduced level does not by itself change dynamic range; the compression and Lo/Ro downmix issues are covered in C3-B765-01 and C3-B765-02. Limitations. The page expresses -31 as Leq-A and -27 as dB FS without detail; modern streaming uses integrated loudness (LKFS) targets from the platform spec, which I could not read. Version/date. Article updated from September 2000.","evidence":{"claims":[{"url":"https://www.digido.com/level-practices-part-2/","claim":"Problem. Theatrical dialogue sits louder than the -31 dialnorm target, so a film carried to AC-3 home delivery is reduced. Conditions. 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