I'm not conflating anything, I'm merely stating facts. System capability and mastering standards may be separate but are directly related as obviously there's no point creating a mix that cannot be played back as intended. System capability effectively sets the limits of what can (or at least should) be produced.
Since you openly admit that system capability and mastering/calibration standards are separate issues, thank you for making my point. You cannot admit one thing and then turn around and again conflate it just to posture. I am not buying that. The system capability was established first, the mastering and calibration fit inside that capability - they don't define it. There are theatrical sound systems that can play louder than 105db down to 40hz (HPS-4000 is one of them) in the mains, and louder than 99db for the surrounds. The standards fit within that system, the system is not defined by the standard.
I also didn't say Netflix set any industry standards but the fact that they have their own standards indicates that they care deeply about standardising how their material will be reproduced at home or in cinemas. This will no doubt have been influenced by system capability standards.
Netflix adopted those standards from SMPTE and THX. These are not their OWN standards. How mixes are handled for home content is very different than what is done for theatrical content. The standard has nothing to do with the system capability, and my example above shows that.
Your comments relating to calibration vs capability are simply wrong. In Dolby Atmos commercial theatres, it's true that surround speakers must be capable of at least 99dB but these must form part of a speaker array of at least 4 speakers which would make the surround array 105dB capable. This capability would provide the (Dolby recommended) 3dB headroom to cover 17dB peaks on a 85dB mix which, as I said above, is the maximum peaks they should be expected to be subjected to.
Now you are contradicting yourself. AGAIN!!!! You openly admitted I was correct when I stated that the calibration levels and system capabilities are different subjects. You did say this;
"System capability and mastering standards may be separate "
How can I be right and wrong at the same time? I can't, and that shows how profoundly you are posturing and twisting to feebly attempt to make your point. Dude, you cannot say something is separate, and then attempt to conflate them together AGAIN!
Speaking of 17dB surround peaks, this is copied and pasted directly from the Dolby Atmos Home Entertainment Studio Certification Guide (30/1/19).
"Speaker and amplification specification
The suitable sound pressure reference level for a studio will be dependent upon the content type
being produced and precise delivery requirements. Allowable ranges for Dolby Atmos home
entertainment studio certification range from 79 to 85 dBC.
The requirement of the amplifier and speaker equipment is to reproduce the content, as recorded
within the digital workstation, such that it does not add distortion. Each screen speaker shall be
capable of producing 20 dB above reference level, and each surround speaker shall be capable of
producing 17 dB above reference level. The subwoofer is aligned at +10 dB when compared to the
center speaker and should also be capable of producing at least 20 dB above reference level."
This makes perfect sense and is 100% consistent with what Sony Pictures say they are doing in their mixes. Note the phrase "as recorded within the digital workstation" - this means there shouldn't be more than 103dB peaks in the surrounds. If you're choosing to put 20dB surround peaks into your own mixes that's up to you but you are evidently breaching the Dolby guidance.
Once again brightness this a calibration thing, not a system thing. Do you know the difference between a doorknob and a door?
I don't mean to be rude, but are you actually a professional sound mixer for the movie industry?
Yes. And as such, I know the difference between a system's capabilities, how it is calibrated, and the recommended mastering levels. They are not the same. Not to be rude, but It is patently clear you are not a professional sound mixer or a professional in anything related to the film industry. Heck, on this subject matter, you cannot tell the difference between your bum and a donut.