Audio panning to match camera angle

[Bruce Watson]

This kind of thing has been researched. You can search around and find the peer reviewed papers in journals. What researchers have found is that viewers don’t like for the sound stage to move. Some even get physically sick (that usually takes tracking the sound with a complex camera move) sorta like sea sickness. It disturbs their equilibrium somehow. There’s a good reason movies use a center channel for dialog and don’t pan the dialog left and right to follow the actors.

Flipping the sound, swapping left and right, is about as disorienting to the viewer as having a camera angle hopping back and forth violating the 180 degree rule. When used for this effect it’s OK. When not, you’re just disorienting the viewer for no good reason. Don’t expect the viewers to appreciate it. Just sayin’.

Said another way entirely: The reason not to do this is that it’s a big and sudden change in the sound. This pulls the viewer out of their “suspension of disbelief” so that they quit listening to the music (which is the point of the video, yes? The music?) and start listening to the sound itself to try to figure out what suddenly changed. So not only are the musicians not on screen while you’re showing the audience, now the music isn’t being heard either. You get a complete break of continuity. I’m thinking this isn’t really what your client wants.

But you never know, and clients pay the bills. If you can’t reason with him, you can always do it both ways and let him pick his favorite. If he picks “wrong” have him sign a waiver absolving you of the responsibility and do it his way.

[Peter Robertson]

Hi Bruce
Many thanks for your super comments.
I will send my client a blind copy in response to his request.
I agree totally with you.
All best wishes
Peter

[Ty Ford]

Hello Peter and welcome to the Cow Audio Forum.

I’m with Bruce on this for his exact reasons.

The only reason I’d differ is if the production style was to poke in to the orchestra to, say the cellos in an effort to “solo” them. I’d still probably keep the same main mix, but might bring the cellos up to spotlight them a bit.

If the video was directed to go for one instrument now and then, I’d probably want to bring it up a bit if I could and pay attention to where it was in the frame, but it would probably be in the middle anyway.

Do let us know what happened!!

Regards,

Ty Ford
Cow Audio Forum Leader

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[Andrew Thomson]

Really great response Bruce, the panning or not of dialogue is certainly something every audio post professional should be thinking about.

https://groundbird.tv

[Richard Crowley]

If this is a video/audio record of a performance, then leaving the sound-stage mix static is most certainy the way to go. The sound-track should stand-alone as a good audio recording even without the video.

However, note that if this is a dramatic piece about a musician, etc. That is a different situation where the perspective of the performer is important to the dramatic presentation.

But switching the sound-stage around with different camera angles is essentially NEVER done. Suggest to your client to view 100 (or 1000) professionally done videos and collect examples of what they are asking for. Don’t hold your breath. OTOH, “the customer is always right”. And sometimes we are not in a position to encourage sensible decisions. If it is too goofy, you can always credit Alan Smithee with the audio mix. 🙂

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Peter Groom]

Your client is dangerously clueless
Peter

Post Production Dubbing Mixer

[Peter Robertson]

Many thanks to all for your valuable comments.
In the end there was not much discussion with the client and we took a mix that was a straight “concert performance” with no messing with the panning.
I have a teaser that you might like to view:

https://vimeo.com/channels/371784/350989839

The whole concert was about 80 minutes long.
Many thanks
Peter