Simon Ubsdell
5
COW Coins
Forum Replies Created
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For better or worse, the days when you could show a client “work in progress” are long gone.
Simon Ubsdell
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[Walter Soyka] “I always viewed Motion as a kind of a sketchpad”
I will break my vow and jump in here.
The sketchpad thing is precisely why I am still using Motion.
These days I will almost always finish in After Effects (in large part because it’s essential that I can hand off to other designers at a moment’s notice), but for rapidly working towards an initial design concept through instant iteration, Motion still makes a lot of sense to me.
Many motion graphics designers have weeks or months to design a concept. I usually have about an hour.
I’m not going to waste that hour in an application that doesn’t allow me as many iterations as Motion.
Good design is iterations.
It really is as simple as that.
Simon Ubsdell
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I will, in the parlance of our times, “just leave this here”.
In the quest for “the best tool for the job” we often inadvertently skip over the advantages of using several tools for the same job.
Simon Ubsdell
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By far the best option for dialogue clean-up is the Izotope RX product line.
https://www.izotope.com/en/products/rx.html
It’s the industry standard, it’s easy to use, and nothing else comes anywhere close in terms of quality.
Simon Ubsdell
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To clarify this for future users (and because this question often causes problems and confusion), please use the method I have described above to set up your multichannel sequence correctly for export.
Then if your delivery details specify “mono tracks”, export as follows:
In the Audio tab specify the total number of outputs you require.
And select Mono for the Channel Layout.
The export will consist of “mono” channels.
If you require channels with their correct source labels (typically 5.1 on channels 1-6 and stereo on track 7-8) you can select these explicitly in the export menu. Click the plus sign to add a stereo pair (having made sure that it has been routed to 7-8 in your mixer).*
Premiere’s routing options are very flexible but you have to have the patience to understand how they work and how to set up your sequence and your source tracks correctly.
* I have unintentionally shown the L/C/R/Ls/Rs/Lfe 5.1 routing here but usually these days you will be asked for L/R/C/Lfe/Ls/Rs (which you can of course choose from the dropdown menu).
Simon Ubsdell
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[Devin Clarke] “I’m not looking for a multichannel answer. Because they asked for ‘ printed as its own Mono track,’ it doesn’t look possible with what I know about Premier.”
I’ve obviously confused you. This is entirely possible in Premiere and you were doing it. You handle that in the Export settings.
Simon Ubsdell
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The first step I would suggest it to Modify the mono clips in the Browser – right-click, Choose Modify/Audio Channels.
Set the Clip Channel Format to 5.1. And choose the appropriate channel for the track. Here I’m choosing C because I’m modifying the Centre track.
Premiere now knows how to route the clip in a multichannel sequence if you lay them in as 5.1 tracks rather than mono tracks.
Because the default output assignment is 1-6 you’re now in good shape for the 5.1 mix.
You then simply need to add a stereo track to the sequence for your stereo mix and make sure that its output assignment is 7-8.
(Note that the whole process is a lot easier if you ask your dubbing mixer to make you an interleaved 5.1 mix because it saves you having to set the channel format and you can lay in the entire mix in one go.)
Simon Ubsdell
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New version that fixes a plumbing mistake and adds the option to orientate the “plane” on which the shadow is cast.
(Note that this method, unlike most standard shadow methods, isn’t just adding a coloured overlay to the background image, it’s colour correcting it, which gives a much more realistic result.)
Simon Ubsdell