General Notes and Recommendations
- Printmasters must be created by summing the corresponding stems at unity gain (“0”). Peak limiting may be used at the discretion of the mix team.
- Any changes made during the printmaster pass outside of peak limiting must be also done to the stems to ensure that the sum of the stems equals the final printmaster.
- At the discretion of the content provider, Two-Track printmasters can contain encoding, for example, matrix or spatial encoding. Both flat and encoded Two-Track printmasters may be delivered. The file naming and labeling must be very specific.
Formatting Recommendations
- Theatrical and Nearfield printmasters should have the same layout for consistency.
- 7.1, 5.1 and Two-Track printmasters must be individual consolidated channels as Broadcast Wave (.wav) files and in separate workstation sessions. The workstation session may contain a 7.1, 5.1 or Stereo session track, or it may contain individual mono tracks. Each track must be named to reflect its audio configuration and channel assignment.
- Immersive printmasters can contain channels and/or objects. These are delivered as workstation sessions formatted per the convention used for the specific immersive audio type and audio configuration e.g. 7.1.2, 7.1.4, 9.1.6.
- The immersive printmaster session should contain a single composite bed that is made by summing the stem beds at unity gain. Peak limiting can be used at the discretion of the mix team. It is not recommended to have multiple beds in the printmaster session for the archive.
- In general, the bed tracks begin at track one and go to track 10, 12 or 14 respectively. The objects then start at the next numbered track.
- All objects from the immersive stems session should be carried into the immersive printmaster session.
- The total number of channels+objects cannot exceed 128 as of this writing.
