[Peter Groom]

Just build your tracklay like a video editor would.
Say tracks 1& 2 3&4 chequerboarded interview / dialogue
5&6 7&8 sync overlay effects
9&10 11&12 music
13&14 Voice over etc.
Dony bother with pannimg anything. Any dubbing mixer will disregard anything you give him and start from the beginning. Just smooth front and ends with a fade and ensure will tracks are provided for his use.

Be clear what your deliverables are, what mixes you need ie
Stereo, Stereo M&E, 5.1 discreets and 5.1 ac3 file etc. He’ll buold with that in mind from the get go rather than trying to adjust later.
peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
Reading your question and the words you have used suggests to me that you will struggle on this.
My suggestion is edit your film putting all your audio you wish to ever hear on the timeline, then give it to a specialist audio post house to mix.
The complexities of mixing a feature for release are immense and you clearly have no visibility if this.
You’ll need way more than Soundtrack Pro and someone telling you how to use a compressor.
Start with at least 10 years post audio experience.
Not 10 years foing sound in fcp – that doesn’t count.
Sorry to be brutal but you’re kidding yourself here.
Peter

Post Production Dubbing Mixer

[Peter Groom]

we’re not here to compare

why not?

The idea is to say “can I do this specific task that I do with the other system?”…. that’s all

not neccesarily. you can say that if you prefer. I have a clear preference thanks very much!
Peter

Post Production Dubbing Mixer

[Peter Groom]

In my case its genuine.

For many years i worked in a post house that was FCP, but luckily, as the dubbingmixer I didnt have to use what i always felt was a far inferior editor.
Now in a different company I have had to do more video editing, and they have FCP, so I have had to (and quite enjoyed) learning this tool deeper.

So for many years i “thought ” it was inferior. Now I “know” why I was right.
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI
I line up the clips on the timeline, mark in and out around the clip, go to the in point, match frame and then create a sub clip into a bin FOR EACH TRACK. Then i highlight these sub clips in the bin, create a subgroup and use this in the timeline on track 1.
Works well for me. especially if you map some functions to the keyboard for fast operation.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ok my pov from a Post perspective.

If youre recording the 4 mics to 4 separate channels on the records then its not really feasible to ride faders (or rec level pots) live as its not the same as mixing on a mixer.
In this case id suggest spending a bit ore time 1 setting the optimum levels on the recorder and as TY says speak to the performers so thay are more aware of their projection levels overall.
Then, as a post mixer, Ill be happiest receiving uniform levels, all separate, that arent constantly moving.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Why connect?
Just accept that dslr cameras audio is awful. Their pictures are ok. Record the audio on the zoom and sync it up in the edit. Don’t put audio anywhere near the camera. It will break it
Peter

Post Production Dubbing Mixer

[Peter Groom]

Sounds faulty but don’t use I phone headphones. They often have 4 poles which can cause havoc with audio kit.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ok managed to get some time in the studio.
Restoration results not too good. The distortion was quite deep and the effects of the software are audible in places but it is better
Can u give me an email address and I’ll we transfer it to you?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
I did but didn’t make it to the studio. I hit diverted to a different job.
Hopefully I’ll get a listen today and report back

Post Production Dubbing Mixer