5.1 Audio Submix and the LFE channel

[Chris Conlee]

Hello Paul,

Did you ever figure this out? I’m also having issues with LFE bleeding into other tracks. Is this correct behavior? It seems intuitive that it should be isolated, but…?

Chris

[Paul Carlin]

No, never did.

[Chris Conlee]

Since I was having issues getting an AC3 out of Media Encoder that properly decodes to all 6 channels, I called Minnetonka Audio about the SurCode plugin and here’s what I’ve found: (It’s not directly related to this thread, but close enough that I’ve pasted this here from my original on the Adobe forum)

Apparently you cannot simply send an interleaved 6 channel wav/aif directly to Adobe Media Encoder, because it will not correctly assign the 6 tracks to the corresponding tracks in your resulting AC3. You MUST send it to Media Encoder from Premiere, with the tracks properly assigned and panned.

However, this is where things get tricky.

In the ‘real world’ 5.1 surround tracks are generally in the order: L, R, C, LFE, Ls, Rs

However, for some reason, Adobe Premiere expects them to be in the order: L, R, Ls, Rs, C, LFE

And they MUST be in that order if you want the SurCode plugin to properly encode your AC3 for surround playback. The guy I spoke with at Minnetonka wasn’t an engineer and he’s going to confirm this with an engineer. But in our dabbling, this is what we both found to be true.

Another issue that’s been well documented on these forums is that Premiere doesn’t have a way to properly assign a discreet track as LFE only. Whenever an LFE track is placed it ‘bleeds over’ into all the other tracks. I don’t know if this actually bleeds into the other tracks when run through SurCode or not, but it definitely does when monitoring directly from Premiere. Near as I can tell, there doesn’t seem to be a fix for this.

The way I ended up doing this, with the direct participation from the Minnetonka support person, was as follows:

1) I took my six discreet channels and loaded them into freeware Audacity in the following order: L, R, Ls, Rs, C, LFE.

2) I then exported a 6 channel interleaved .WAV file.

3) In Premiere I created a new project and set the Master Mixer to 5.1 and I created a single 5.1 track. No other tracks were added.

4) I imported my 6 channel interleaved .WAV and drug it onto the single 5.1 audio track

5) By hitting play, I could visually confirm in the mixer that all six tracks were bouncing around properly, and discreetly (ie, no bleed from the LFE track, etc) I had no control over the various channels at this point, but they were already prepared by my post audio facility, so I had no need to adjust them anyway.

6) I selected this track and then chose to export it. Since I had no video, I deselected Video in Media Encoder. And for the audio I selected Dolby Digital, and SurCode with 5.1 and let ‘er rip.

Voila! After two weeks of screwing around with SurCode and Media Encoder I FINALLY have an AC3 file which properly decodes into all 6 channels.

Hope it helps somebody.

Chris

[Paul Carlin]

Seems simple enough.

Not.

[Salvador Lillo]

Sorry no hablo ingles.
Crear una pista mono a la que llamaremos lfe, girar nivel lfe al nivel deseado, panoramizar esta pista al canal central.

Crear una nueva pista submezcla 5.1 añadir efecto volumen de canal, asignar al nivel al centro (en la parte inferior), ajustar nivel al minimo.

Asignar salida pista lfe creada al principio a la pista submezcal recien creada.
A mi me funciono.

[Zameer Tamboli]

can adobe ppr give us option When creating new audio MASTER track

Like This

Master Track Layout Types =
= L C R Ls Rs LFE (C 24/FILM)
= L R C LFE Ls Rs (SMPTE/ITU)
= L R Ls Rs C LFE (DTS Monitoring)
= LxCxR Ls Rs LFE (D-Command/D-Control)

For Creating User Define Master Track

[Dan Smith]

Hi Chris
This helped me a lot – thanks mate!

Dan