Exporting video with 8 channel audio file

[David Roth weiss]

If you’re asking you probably have never done a 5.1 surround mix, and you most assuredly don’t have the five speakers, subwoofer, etc. required to monitor a surround mix. So, you’re going to have to take your project to a professional facility that has 5.1 surround mixing capability.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Jess Raymond]

Thanks for the tip, however I would like to learn how to do this myself which is why I posted the question.

Jess

[Ryan Frias]

Hi Jess,

In order to meet their spec for -24 LKFS, which to me sounds like you’re trying to hit a broadcast specification (?), you would need to have proper metering/plugins as well as proper 5.1 monitoring and calibration to mix the audio to. Along with a spec of -24 LKFS, do they have a maximum “True Peak” or “Peak” spec? This can be something like -6dBTP.

It’s much more efficient to do audio work outside of a video editing platform, using Pro Tools, Nuendo, Audition (?) etc. due to the necessary tools (Compression, EQ, Limiting, etc.) it takes to meet those specific specs. At the very least, you would need a LKFS metering plugin such as iZotope Insight and a True Peak limiter such as Avid Pro Limiter.

Typically, a post sound person would handle this all since they have a properly calibrated 5.1 room set anywhere between 79 to 85 dBSPL, and they probably have specialized metering such as iZotope Insight to monitor the LKFS spec and True Peak spec as they mix in the specified 5.1 format.

There’s a lot more to this but that’s the general idea.

-Ryan

[David Roth weiss]

[Jess Raymond] “Thanks for the tip, however I would like to learn how to do this myself which is why I posted the question.”

I understand that Jess, and I would like to be king of the world, but that doesn’t mean it will happen. As Ryan and I both tried in our own ways to tell you, you don’t have the hardware necessary to monitor surround, so whether you want to learn to to it yourself it is inconsequential, because you simply can’t do without the proper tools. FYI, 99.9% of all editors don’t have surround sound capabilities in their edit bay(s), and Ryan and I know that – the fact that you don’t know that is why you’re asking for help and seem to be arguing with me.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Forrest Fox]

That’s looks like the standard for a network I deal with a lot. Im my case:

Ignore the 5.1 channels if you are not producing in 5.1

Do a good stereo mix, with the other channels as described, as you are able. If you’re not doing descriptive audio, leave these channels silent.

In premiere, use Loudness Radar to monitor the average LKFS in 1-2 minute chunks.

Pay attention to the other requirements for peaks. Usually -10db true, never exceed -6db.

Start with a multichannel project/timeline and set your master audio mix to eight channel.

If delivering electronically, set your export file to multichannel/8.

I was new to this about three months ago. Now it’s easy peasy – however time consuming.

Forrest

[David Roth weiss]

[Forrest Fox] “Ignore the 5.1 channels if you are not producing in 5.1
“

Yes, take Forest’s advice on this, but do check to make certain 5.1 surround is NOT a requirement. Many broadcasters and distributors do demand 5.1, and whether you had planned for it or not is inconsequential to them.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.