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Prem pro CS4 making a mono track into stereo
I apologise if this has been covered somewhere in the forum before, but couldn’t see it when I did a quick search.
Ok so here’s the rub, you recorded audio using an external microphone on your camera. In premiere pro CS4 the recorded track is appearing as a mono track (audio on one channel only). So to balance it up and make it stereo you need to copy the left channel and paste to the right (or vica versa).
Well in the past you just went into Adobe audition and did it there, but here’s the thing, Adobe removed this feature (go figure)from the replacement program CS4 Soundbooth (previously known as Adobe Audition).
So here is the fix, and its actually easier than before because now its all done in Premier Pro.
Use the FILL LEFT effect (or fill right)
The audio fill effects can be found in the effects window, under Audio Effects > Stereo > Fill Left / Fill Right. To apply either of these effects, select the appropriate clip in the timeline and drag the effect onto the clip (or drag the effect into the Effect Controls window).
The Fill Left effect takes the audio from the left channel and duplicates it on the right channel, deleting any previous audio which was on the right channel. The Fill Right effect does the reverse, applying the right channel audio to the left channel.
Easy peasy, and better than using the soundbooth multitrack work around. I found the multitrack gave out a distorted twang to the new stereo track.
Good luck !
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2 Replies
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Andy,
The easiest way actually involves source channel mappings. This avoids having to deal with extra filters such as “fill” afterwards.
Select all your clips (before they get the timeline), then select Clip > Audio Options > Source Channel mappings, pick the channel you like and set it as mono (or stereo).
Vince Becquiot
Kaptis Studios
San Francisco – Bay Area -
Well, I would say anything you do will be altered by your sound designer anyway. If you are planning on having a post sound crew work on it, just export the omf and give it to them when ur done. A lot of the audio houses prefer the have a mono shift left or right to work off of.
If you are planning on taking on the whole Audio process, you got a lot of work a head of you, especially if you’re doing a 5.1 mix. Anyways, with that being said.
Export the timeline as an OMF or another type of universal format. Import it into pro tools or some other high end sound studio program. The reason why I say this is, everytime you bring sound into a cheaper format or you duplicate a track in your post bay, it gets compression.
The cleanest sound will be exported from your master timelines as OMF, the reason you duplicate it in the studio is to guarantee you don’t get clipping or any other piece of junk consumer feature.
So, in short hand,
Export your OMF from the editing suite, import it into your post sound program, duplicate the channel balance the tracks and set the balance as your 0 db. Reexport it as an OMF or XML, bring it back into your editing bay and lay it on the timeline= booom you got good audio.
If you do this proper you can get to replacing temp sound clips with your full render ones, always good to get to know the audiophiles and let them handle it. Don’t bite off more than you can chew man!
*Almost forgot, Audio is touchy, everytime you put on an effect it is compressed, you do that enough you get degradation. I have been told multiple times by my sound mixers and composers, please leave it mixed at 0 with no effects, they will alter it. If you do alter it at home, don’t hit the render button until you are all done and if you do it in you picture editing software, it compresses for every effect you put on a track. So fade out + speed change+ volume level = compression x 1.3
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