Godzilla Minus Zero is incredibly loud. Who decides on the cinema volume? And is it safe?

Godzilla Minus Zero’s incursion into Australian cinemas is proving to be a proper theatrical event.

Audiences aren’t just seeing the beast; they are feeling him. One IMAX attendee reported getting 90 decibel (dB) noise alerts on their smartwatch, and described it as the loudest film they’d ever watched.

As blockbuster soundtracks become increasingly sophisticated, the same question keeps cropping up: why are some cinema screenings so much louder than others?

The answer is a mix of artistic intent, acoustic science, industry standards and a cinema’s individual choice.

What makes a film ‘loud’?

One of the key elements of film sound is dynamic range: the difference between the quietest and loudest parts of the soundtrack. Imagine two characters whispering, perhaps with some subtle ambient noise – then all of a sudden there’s an explosion.

Cinema soundtracks have a much wider dynamic range than we’re used to getting from our TV or laptop speakers.

But apparent loudness isn’t just a function of peak levels. A soundtrack with music, dialogue and effects all going at once will seem much “louder” than one with just a few very loud moments – even if the peak levels on both are the same.

Our ears also respond differently to different frequencies. Highs can be piercing, while lows can be felt in the chest.

A creature the size of Godzilla is interesting to work with. How can a sound designer convey the sheer scale of such a beast? Volume alone isn’t enough.

Large things onscreen – such as machines, thunder and beasts like Godzilla – tend to be accompanied by low-frequency sounds such as deep rumbles. Cinema subwoofers reproduce these low frequencies so you can feel them as vibrations.

Higher frequencies add detail and definition to a scene – such as the sudden crack of a building coming down, or the hit of an explosion.

The original 1954 Godzilla roar was achieved by dragging a glove coated in resin across double bass strings. Composer Akira Ifukube developed an effective orchestral language for the creature, with low frequencies suggesting mass, sharp impacts suggesting force, and reverb used to emphasise scale.

Sound made for IMAX

Godzilla Minus Zero joins a small number of films made for IMAX in recent years.

In 2025, at least 14 films were specifically “filmed for IMAX”, compared with the 122 films released in IMAX theatres worldwide.

This distinction matters. Films that are made for the IMAX format have enhanced presentation, including enhanced sound. Some IMAX with Laser theatres have 12-channel sound systems (including overheads and extra side channels). That can make a real difference to experiencing a character like Godzilla.

Deep bass gives the monster’s footsteps a tangible presence, while surround sound can place falling debris, explosions, and other environmental effects around you – rather than just in front.

Who controls the cinema volume?

Films are mixed in dedicated dubbing theatres, where the sound engineers will deliberately balance the dialogue, music and effects. These mixes are designed to be reproduceable across all cinemas.

The traditional method of theatrical calibration uses a reference level of about 85dB for a test signal played through a single front speaker. That doesn’t mean the film is going to be at 85dB all the time. It’s just a reference that’s used to ensure playback is consistent.

However, this process doesn’t necessarily mean every cinema will reproduce a film at exactly the same volume?

While filmmakers and studios meticulously mix audio to a highly strict industry standard, cinemas are not legally bound to preserve that exact volume and routinely adjust it based on audience comfort, theatre acoustics, and business logistics.

Some cinemas may accommodate requests for having the volume turned up or down, but this can depend on factors such as the cinema’s technical settings, management policies, and the specific sound mix of the film being played.

What about those 90dB warnings?

A smartwatch can detect high sound levels, but it can’t tell you what the overall sound level of a film was – which is more important when it comes to hearing safety.

Hearing damage depends on both sound intensity and exposure time. A brief burst of loud sound isn’t equivalent to sustained exposure at the same level.

Sound starts getting dangerous for human ears at a sustained level of 85 dBA and above, with dBA (A-weighted decibels) being a unit of measuring “loudness” that accounts for how humans hear.

Prolonged exposure to noise at or above this 85 dBA level can lead to permanent, irreversible noise-induced hearing loss. But no cinema soundtrack would consistently be this loud. Immediate permanent damage from a single sound (like an onscreen explosion) is also highly unlikely, as this occurs at levels above 140dB.

With staff constantly walking in and out of auditoriums, cinemas manage their volume levels to ensure they aren’t exceeding legal thresholds. Of course, that doesn’t mean the loudness is always comfortable.

Louder isn’t always better

Modern technologies such as Dolby Atmos and the IMAX multi-channel have given directors greater control over how the sound of their film fills a cinema. But does greater technical capability lead to a more powerful viewing experience?

If everything is just loud, you’ve lost contrast. In my own compositional and sound design work, I’m always thinking about how sound serves the story, rather than just adding to the spectacle.

A quiet musical gesture or subtle environmental sound can be far more disturbing than an explosion. Godzilla’s roar isn’t just impactful because of its sheer volume, but because of everything that built up to it.

A good filmmaker will have you primed to listen.

Alison Cole does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.