Loudness standards: EBU R128, Arcom, ATSC and platforms, what level for your mix?
-23 LUFS in France and Europe, -24 LKFS in the US, true peak and LRA: loudness standards by destination and the method to deliver a compliant film or TV mix.
The short answer (November 2026)
- Television in France: -23 LUFS average, with a ±1 LU tolerance for programmes longer than two minutes (Arcom deliberation of 19 July 2011).
- Television in Europe: the same -23 LUFS target under the EBU R 128 recommendation, with a true peak no higher than -1 dBTP.
- Television in the United States: -24 LKFS, measured on dialogue, with a true peak below -2 dBTP (ATSC A/85).
- Streaming platforms: each one publishes its own specification. Ask for the current version before you mix, never after.
- Cinema release: no LUFS target. The film is mixed in a calibrated room, then an adapted version is prepared for television and streaming.
LUFS and LKFS are the same unit, defined by the ITU-R BS.1770 recommendation. Every figure on this page is sourced at the bottom.
A mix rejected at quality control costs a new session and pushes back delivery. This guide sums up the loudness standards you need to know for each destination, and the method to deliver right the first time.
1. The vocabulary in five measures
Loudness measures perceived level, not electrical level. It is expressed in LUFS (Loudness Units relative to Full Scale). A programme at -23 LUFS sounds as loud as another one at -23 LUFS, whatever its content.
| Measure | What it is | What it is used for |
|---|---|---|
| Integrated loudness (LUFS) | The average of the whole programme, from first to last sound. | The value checked at delivery: -23 LUFS in Europe, -24 LKFS in the US. |
| LU | A loudness difference. 1 LU equals 1 dB. | Expressing a tolerance (±1 LU) or a gap between two measurements. |
| True peak (dBTP) | The real peak level of the signal, including between samples. | Avoiding clipping after conversion or audio compression at broadcast. |
| Loudness Range (LRA, in LU) | The spread between quiet and loud passages of the programme. | Assessing dynamics. Too high a value forces viewers to reach for the volume. |
| Momentary and short-term | Loudness over 400 milliseconds and over 3 seconds. | Following the level in real time while mixing. |
Definitions: ITU-R BS.1770 for the measurement algorithm, EBU Tech 3341 for the momentary and short-term windows, EBU Tech 3342 for Loudness Range.
2. Standards by destination
| Destination | Reference | Integrated loudness | Tolerance | Maximum true peak |
|---|---|---|---|---|
| Television in France | Arcom (formerly CSA) deliberation of 19 July 2011 | -23 LUFS | ±1 LU (programme over 2 minutes) | Not set by the text |
| Television in Europe | EBU R 128 (version 5.0, November 2023) | -23.0 LUFS | ±1.0 LU for live | -1 dBTP |
| Drama and films broadcast on European TV | EBU R 128 s4 (November 2023) | -23.0 LUFS by default | As in EBU R 128 | -1 dBTP |
| Television in the US | ATSC A/85 (July 2026 version) | -24 LKFS, measured on dialogue | About ±2 dB | -2 dBTP |
| Streaming platforms | Each platform's specification | Varies | Varies | Varies |
| Cinema | Mix in a calibrated room | No LUFS target | Not applicable | Not applicable |
The broadcaster or distributor may ask for stricter values in its delivery specification. The client's document always prevails.
3. Television in France: what Arcom requires
The deliberation of 19 July 2011 applies to all television services. It measures loudness according to ITU-R BS.1770 and builds on the work of the EBU. For programmes produced since 2012, the rules in force since 1 January 2013 are as follows.
| Item | Programmes over 2 minutes | Commercials |
|---|---|---|
| Average loudness | -23 LUFS, ±1 LU tolerance | -23 LUFS maximum |
| Loudness over 3 seconds | No limit set | -20 LUFS maximum |
| Loudness Range (LRA) | 20 LU maximum, and if possible above 5 LU | No rule |
| Dialogue dynamics | ±7 LU as far as possible | No rule |
The text also states that energy on the LFE channel (the 5.1 subwoofer) must not noticeably increase the perceived loudness of commercials.
In practice, French channels carry these values into their delivery specifications, often with extra requirements on true peak, tracks and file formats. Ask the production for that document as soon as the mix starts.
4. From a cinema mix to television: the R 128 s4 supplement
A film mixed for theatres has a very wide dynamic range. Broadcast as it is, it makes viewers turn the sound up for dialogue, then down for action scenes. In November 2023 the EBU published a supplement dedicated to "cinematic" content: feature films, drama, series.
- Default target: -23.0 LUFS integrated loudness, as for other programmes.
- New measure: dialogue loudness, the average loudness of speech alone.
- Loudness-to-dialogue ratio: the gap between programme loudness and dialogue loudness should not exceed 5 LU. Within that limit, no dynamic adaptation is needed.
- True peak: -1 dBTP maximum.
The document states that it is not mixing advice for theatrical films. It is an adaptation rule for broadcast. In practice, plan a "near field" or "TV" version of the mix, with tighter dynamics, alongside the theatrical mix.
5. Streaming platforms: ask for the spec
Platforms do not follow one common standard. Some measure loudness on dialogue rather than on the whole programme, and set their own true peak ceiling. Their specifications are published in partner-only areas and change from one version to the next.
Our advice: ask the production for the platform's audio delivery specification, with its version number, before the first mixing session. Write down the target, the measurement method (whole programme or dialogue), the tolerance, the maximum true peak and the list of tracks to deliver (full mix, stems, M&E version).
6. The method to deliver right the first time
- Get the delivery specification from the broadcaster or platform before you start.
- Calibrate the monitoring in the room and always mix at the same listening level.
- Set the loudness meter to the right standard: EBU R 128, ATSC A/85 or the platform spec. Check that it complies with ITU-R BS.1770 and EBU Mode (Tech 3341).
- Mix by ear, check on the meter. Set dialogue at a steady level first, then build music and effects around it.
- Measure the whole programme, from first to last sound, with no added silence at head or tail.
- Control true peak with a true peak limiter at the end of the chain, set slightly below the maximum value.
- Export a measurement report (integrated loudness, LRA, true peak) and attach it to the delivery.
- Measure each version separately: 5.1, stereo, M&E, trailer.
7. Mistakes that get a mix rejected
- Normalising the final file instead of mixing. Lowering a mix that is too loud by 6 dB puts it on target, but dialogue gets weak and true peak may stay too high.
- Crushing dynamics with the limiter. The target is met, but the mix tires the ear and may fall foul of the LRA limits the other way.
- Confusing digital peak and true peak. A file peaking at -0.1 dBFS can exceed 0 dBTP between two samples.
- Forgetting the stereo. A 5.1 downmix does not have the same loudness. Measure the stereo version on its own.
- Mixing on headphones only. Low end and spatial image cannot be judged properly without reference monitoring.
Mixing in 5.1 in Paris
At ForCut, Room 6 at Studio République (Paris 10) is a standalone room on the courtyard with its own entrance: picture editing, sound editing and 5.1 mixing on Pro Tools and Fairlight, with access to the Avid Nexis SAN. It rents for €190 excl. VAT per day and €850 excl. VAT per week, sound editing and 5.1 mixing included. For picture editing upstream, the edit suite at Studio Bastille (Paris 12) is €80 incl. VAT per half day, with self-service access 24/7.
Sources
- Arcom: deliberation of 19 July 2011 on the technical characteristics of the loudness of television programmes and commercials (the French text is the authentic version).
- EBU: EBU R 128, Loudness normalisation and permitted maximum level of audio signals (version 5.0 PDF), EBU R 128 s4, Loudness normalisation of Cinematic Content.
- ATSC: A/85, Techniques for Establishing and Maintaining Audio Loudness for Digital Television.
- ITU: ITU-R BS.1770 recommendation, algorithms to measure audio programme loudness and true-peak audio level.
Data checked on 5 November 2026.
FAQ
What is the loudness standard for television in France?
The Arcom deliberation of 19 July 2011 sets -23 LUFS on average, with a ±1 LU tolerance for programmes longer than two minutes. Commercials must not exceed -23 LUFS on average or -20 LUFS over 3 seconds.
What does EBU R128 require?
The EBU R 128 recommendation (version 5.0, November 2023) sets a -23.0 LUFS integrated loudness target, a ±1.0 LU tolerance for live programmes and a true peak no higher than -1 dBTP in production.
What is the difference between LUFS and LKFS?
None in measurement: both name the same unit defined by ITU-R BS.1770. Europe tends to say LUFS, the US says LKFS.
What loudness level for a film broadcast on TV?
In Europe, the EBU R 128 s4 supplement recommends -23 LUFS by default, a maximum true peak of -1 dBTP and no more than 5 LU between programme loudness and dialogue loudness.
What is the loudness standard in the United States?
The ATSC A/85 recommendation sets -24 LKFS, measured on dialogue, with a tolerance of about ±2 dB and a true peak below -2 dBTP.
Related guides
Post-producing in Paris?
At Studio Bastille (Paris 12), the editing suite starts at €80 and the grading suite at €110 per half-day (incl. VAT), with 24/7 self access, a Mac mini M6 in the editing suite and a Mac Studio M2 Ultra in the grading suite. Studio République (Paris 10) offers five rooms on an Avid Nexis SAN, including 5.1 sound and a screening room, on quote. Depending on the project, costs may qualify for the French film tax credit or TRIP.