Ryan Elder
Forum Replies Created
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Oh okay, thanks, it’s just what I read in those specifications on that page, so I was just going by that.
Do most movies with a 5.1 surround mix have stereo for the music then?
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Okay thanks, but for sending the film into theaters, I was told that for a DCP package that a theater either will take 5.1 surround, or mono, but not stereo, because stereo will cause issues on the 5.1 theater speaker systems that most festivals and theaters have.
Is that true? I read it here:
https://thedcpmaster.com/surround-sound-dcp/
So if it’s true, that would that stereo wouldn’t work in a DCP normally, and therefore I should avoid it then? I’ve used stereo on my projects over the years, but this is my first time going for a DCP, and wanted to do it right.
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Oh well I am just starting to search for a music performer/mixer now, so I haven’t asked for anything yet. It’s just my first time doing a surround sound mix, so not sure what to ask for, when mixing the music for that mix.
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Oh okay, they said I should place mics all over to create surround sound while shooting as an actor will walk into the direction of one track, and then walk into the direction of another, etc.
But I have no problem mixing in post, which they thought was just more post work and less natural, by the sounds of it.
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Okay thanks. I actually have a question that came to mind. I am going to be doing a 5.1 surround sound mix for the first time, and I was wondering, when the composer does the music, does he give me a five track wave file, that I bring onto the time, or does he give me a bunch of mono files of different parts of music, and I am the one who mixes those mono files into the 5.1 master mix, myself?
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Okay thanks. Well the way I’ve been doing it so far, is I’ve been booming the actors, and using lavs as back up, if I can get them for my shoots. But I follow the actors with the boom close by.
But they say that by doing that, with one close boom mic and lav, and no other mics placed anywhere in the room that I am missing out on room ambiance and creating surround sound, and just giving myself more work in post that will not sound as good cause it’s synthesized, compared to getting it right during shooting (shrug).
The two guys who told me know more about recording than I do, but they’ve been recording music bands their whole lives, and are use to the band playing all simultaneously in different mics. So perhaps they feel that it’s best to place mics all over cause they are use to doing it with bands?
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Okay thanks! If the sound person recording on set has to raise and lower the levels though, then you will hear it go up and down in the recording though. I thought that the level was suppose to be kept at one level to remain even, unless you absolutely have to raise it up or down, but normally, it’s suppose to be kept at one even level for consistency, isn’t it?
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Oh I’m not sure if it was every attempt I made, but it was during the last one, yes. I just tried rendering the clip without it open and it worked actually, so that worked! I still exported a copy of the scene from AE anyway, but at least I know it seems to work without AE open. Thanks.
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Yeah I think this is the only the second time it has failed me so maybe I am lucky. But from now I will make a separate video copy, exported out of AE. What about other programs that are linked to Premiere, like Adobe Audition?
I feel it’s better to edit the clip in Premiere first, cause otherwise I would have to open up Audition separately, work on the clip and then re-sync it the video in Premiere for all the audio clips, won’t I?
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Yeah I just went with the ‘lossless’ setting that AE puts out. I forgot about Prores I will try that. Thanks!