On Thursday, August 7, 2014, Carsten Kurz &lt;<a href="mailto:audiovisual@t-online.de">audiovisual@t-online.de</a>&gt; wrote:<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">

I usually suggest to create two or three DCPs with different audio levels. You can name them accordingly, att6 att12, att18 etc. Then try them at the cinema to find a suitable setting (and ask the cinema for their average fader setting for testing).</blockquote>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"></blockquote><div><br></div><div>I find it easier to use ffmpeg&#39;s ebur128 filter and then adjust the gain in DCP-o-matic to get a loudness of approx -24 LUFS. This level corresponds to what most DCPs are mastered at.</div>
<div><br></div><div>This filter also shows the True Peak (peak between samples) which let you easily see if you got clipping between samples. I think the popping discussed here stems from this.</div><div><br></div><div><br>
</div><div>Best,<span></span></div><br><br>-- <br>-mattias<br>