John, I figured you must be making wavs of the sound mixes. That makes sense.
I can't say I have the cash to buy some software to create wav files that sum all the channels of a sound mix, but is there some free way to do it? I'd gladly start pumping out graphs, if so.
As to that Art of Flight 1-2hz stuff, and examples of it in other movies, who would the sound designers and mixers be catering to by placing that stuff in seemingly odd places where there are no higher frequency effects that correspond? Essentially nobody can reproduce that stuff.
That brings me to a question about the measuring methodology. I see a pretty consistent slope down to 2 or 3hz in all the PvA graphs, but then many jump straight up to 1hz or DC. Intuitively, I find it hard to believe that this stuff, which will be largely filtered out by DC blocking caps in everyone's equipment, is worth judging as part of the sound mix, especially if it's a rare blip that has no corresponding higher fundamental content.
From 1 to 2hz is a whole octave, but who can reproduce it? Can even rotary subs do so, when the signal chain for everyone limits or essentially removes those signals? Should it, thus, be considered as part of the movie's bass content on which to judge? In the example of Art of Flight, it sure feels like it artificially inflates the movie's score when, otherwise, its extension would only go to 12hz. While it likely wouldn't change the score much, the Batman: Under the Red Hood graph is even more egregious looking. Doesn't that strike you as being a little bit silly?
The idea of removing anything on the track from consideration is a slippery slope, but those hockey stick graphs from DC to 2hz don't seem an accurate depiction of the movie's reproducible content.