Ayan Banerjee
Forum Replies Created
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Thanks Bret. You are absolutely right about picking the best channel and using it exclusively. I would just want to add something about using this exclusive channel, which I have learned the hard way. Probably someone reading this in future could find it useful. Don’t forget to correct me if I am wrong.
There are two ways of using this exclusive channel.
1) Use it on a mono track.
2) Using on a stereo track by applying fill left/fill right effect and convert to a stereo file with 2 identical channels.Most people blindly suggest, method 1 is the correct one. However I think that is not always right. If the master track of the sequence is already set to stereo, I think method 2 is preferable, since most NLEs in this case would apply Pan law and attenuate the mono track’s volume by 3db. So for a sequence with a Stereo Master Track, using stereo tracks EVEN FOR VOICE (with identical channels of course) is more preferable.
If the master track is set as Mono or Multichannel, then without question, method 1.
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Thanks Simon.
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That’s a lot of valuable info Brent. Had no idea of the volume adjustments before. Looks like I have to go through a few trials. I will give it a shot, and see what happens. Thanks again.
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Thanks Brent. I think I would go with the Left Center Right. That way I would have lesser chance to mess up. So I guess my configuration should be:
Let: Ambience(L) + Music(L) at full levels
Right: Ambience(R) + Music(R) at full levels
Center: Voice at full level.
Is that right? Is it a norm for a 3 channel configuration to have NO VOICE at Left and Right and NO MUSIC/AMBIENCE at center?(Excluding special intended situations) -
Yes Brent, I am pretty sure, this is not going to be the ideal 5.1.
The festival won’t accept stereo, since in their theaters, the center channel has to have the voice tracks, and it cannot remain silent. They said, even if a 5.1 is not possible they could accept a left, center, right, but in no way a stereo. My movie is a very basic drama film, with simple sound effects. So I am just looking for some method to deliver an acceptable format to the festival.
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This happened to me once. I was exporting uncompressed wav of a single track (I muted all the other tracks) , and the volume was very low when I put that exported audio clip back into the original track. But this did not happen when I exported all the tracks together as a single track and put it back on a single track in premiere. I have seen people posting this problem on the net. I figured out the problem so I would just explain it here.
It was not a problem of premiere, but just my ow mistake. The single track I was exporting had an audio level set to (-10 db) in the audio mixer. Now I was expecting the exported clip to play at the same volume when I put it beside the original clip in the same track. But that should not be the case, since the original track is already lowered by -10db, it would additionally lower the volume of the new clip by 10 db again. So the exported clip will only sound the same as the original clip, only if we put the exported one, in a track with volume at 0db. (This is why the problem was not there when I exported all tracks together and put it in a new track with track volume 0db).
So my suggestion is, if this happens to you, just check if the volume of the track you are exporting, is set at a lower decibel.
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Cool. That is just what I wanted to hear. Thanks Simon.
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You do not need to change the extension, but need to install Quicktime. Otherwise neither will premiere import mov files, nor will you see Quicktime export options in media encoder.
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Thank you so much Jeff. I know about the bit byte mathematics, but am a total novice about the industry practices and standard export scenarios. Thanks to you and Walter, things seem less blurry now. Suddenly my motherboard broke yesterday. Lucky it is still under warranty. Once it gets serviced, I would try out your suggested export options one by one hands on. Thanks again.
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Hey Jeff Thanks for the links. And that is an ABSOLUTE FANTASTIC article. I wish I came across that before, because I already completed color correction of my short film in Davinci Resolve, using the original footage (mov 420) from the camera. Now I know I should have had converted into some form of intermediate codec. But I guess it is never too late to learn.
As far as archival is concerned, now I have narrowed it down to 4 options.
Lagarith, Quicktime(PNG), Cineform or DNXHD-mxf.I did a lot of googling today and saw a few people suggest against 8bit archivals. To bother you one last time I was wondering if I would benefit from a 10bit archival, given my camera footage is 8bit. QT PNG is 8 bit. When I use AVI -None Uncompressed export, it is exported 8bit like the original footage. As you and Walter have mentioned this is totally lossless, so I wonder if a 10bit archival would provide me with anything better.
Do Lagarith, Cineform and DnxHd have 8bit and 10bit variations? If so would you suggest 8 or 10bit archival for 8bit dslr footage?