• Apple Final Cut Pro Legacy

  Dolby Pro Logic 2 workflows with Final Cut Studio

  Posted by Timothy Eng on July 27, 2010 at 10:06 am

  Hi guys,

  I’m currently producing a television commercial for client but need a little help with some of the technical specs. I’ve edited several commercials over the years, but I’ve never been involved in the final delivery, so in the audio regard I’m a total newbie.

  According to the Aussie Codes for television commercials:
  

  The audio should consist of 6 discrete channels representing -Left/Centre/Right/Left Surround/Right Surround/Low Frequency effects. The minimum audio requirement shall be a Dolby Surround (Pro Logic II) encoded stereo pair (Lt & Rt). By agreement between the parties tracks 3 and 4 (AES2) may carry a Dolby E, or other agreed audio multiplex for the 5.1 multi-channel audio.

  As a video producer who works mainly in Corporate Video, I’ve generally only needed to create an stereo pair AC3 file with Dolby Digital 2.0. Obviously now I’m entering previously unexplored territory.

  I know how to create a 5.1 mix in FCP via Soundtrack Pro, but my main question is, once I have my mix sent back to FCP how do I create a DPL II encoded stereo pair? I haven’t seen a FCP or compressor plugin for DPL II.

  I’ve seen the Surcode DPL II plugin, but given the cost I just wanted to make sure I have the right idea before making any purchases.

  Timothy Eng
  Media Machine

  Deepak Jain replied 15 years, 7 months ago 3 Members · 2 Replies
• 2 Replies

• 

  Michael Gissing

  July 28, 2010 at 12:13 am

  Timothy, as an audio pro (who also grades & onlines), I provide finished product to Australian broadcasters all the time, although rarely TVCs.

  Firstly the tech specs issued by FACTS is a joke. No-one produces 5.1 TVCs, only stereo. ProLogic 2 compatibility doesn’t require you to encode anything. My experience has been to avoid any form of Dolby ProLogic encoding, unless you want real stereo signals like music to narrow.

  Monitor the mix with a ProLogic decoder built into an amplifier and just mix stereo. You can play with width processing plugins if you want to get some music or atmos spill into the surrounds, but basically mix to stereo and check the playback to make sure nothing weird is happening in the surrounds. I have mixed about 600 docos this way and never had any issue with delivery to broadcasters. On the label, write Lt Rt and you are sweet.
• 

  Deepak Jain

  October 19, 2010 at 5:54 am

  Dear Timothy,

  I am trying to create 5.1 Channel QuickTime MOV file using Final Cut Pro but I am not able to create it.

  Can you please tell me steps I should follow to create 5.1 Channel MOV file.

  My requirement is to convert AVI files (Raw Video + 5.1 Ch PCM Audio) to MOV file (ProRes 422 video + 5.1 Ch Audio).

  Thanks and Regards,
  Deepak J

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