panning a stereo mix left and right
- Thread starter ronin99
- Start date
Richard Crowley
Veteran
That does not work as a generic question. It depends on what editing software you are using.
It would seem easy enough to simply try it and discover how your particular workflow operates.
Beyond the technical details, there is the aesthetic consideration of what the stereo file is and how you want it to "appear" in the final mix.
If it is natural outdoor sounds of a forest, but you can only see the outdoors through the window of the cabin, then you might want to "narrow" the separation to simulate sound coming through a window, etc. Or if it is a passing steam-engine, you might want to artificially "cheat" the sound-axis as the train passes, etc.
It would seem easy enough to simply try it and discover how your particular workflow operates.
Beyond the technical details, there is the aesthetic consideration of what the stereo file is and how you want it to "appear" in the final mix.
If it is natural outdoor sounds of a forest, but you can only see the outdoors through the window of the cabin, then you might want to "narrow" the separation to simulate sound coming through a window, etc. Or if it is a passing steam-engine, you might want to artificially "cheat" the sound-axis as the train passes, etc.
This is the final mix from the sound designer, I want it to appear as the export was intended. I'm not interested in narrowing, panning, or adding any effect to that mix. I simply want to marry it with the video and it to sound correct.
I was told that even though it is a interleaved stereo file, I should pan hard left and hard right. However, I'm using Premiere, it sounds appropriate to me when I just place it in a stereo track with the pan at 0. By "appropriate" I mean that sounds that were intended to be on left or right channels sound correct.
I was told that even though it is a interleaved stereo file, I should pan hard left and hard right. However, I'm using Premiere, it sounds appropriate to me when I just place it in a stereo track with the pan at 0. By "appropriate" I mean that sounds that were intended to be on left or right channels sound correct.
Noiz2
Sound Ninja
Well he said it was the stereo mix from the post house. Assuming, always dangerous, that they are not totally incompetent then the "mix" is already done and the width should match picture.
So, with that as the assumption you are going to want to maintain the hard left and right. Most programs bring stereo files in as stereo and you shouldn't have to touch the pans. IF your program brings them in as two mono files it might have them both panned center, but really that would be very out of the normal zone.
The easy check is to listen on headphones. You should very quickly be able to tell if everything sounds like it's centered or if the ambiences and sounds feel spread out.
But 99.99% of the time if you drop a stereo file in a timeline it will playback in stereo not panned mono.
So, with that as the assumption you are going to want to maintain the hard left and right. Most programs bring stereo files in as stereo and you shouldn't have to touch the pans. IF your program brings them in as two mono files it might have them both panned center, but really that would be very out of the normal zone.
The easy check is to listen on headphones. You should very quickly be able to tell if everything sounds like it's centered or if the ambiences and sounds feel spread out.
But 99.99% of the time if you drop a stereo file in a timeline it will playback in stereo not panned mono.
Richard Crowley
Veteran
Sorry, I missed the "final mix" part.
Yes, if you are using Adobe Premiere and dropping it into an ordinary stereo audio track, then you simply leave it as-is.
For a stereo audio track, the control will be "balance" and not "pan" (as it would be for a monaural track).
A stereo track (at least in Premiere) is by definition directed to Left and Right without further adjustment.
Yes, if you are using Adobe Premiere and dropping it into an ordinary stereo audio track, then you simply leave it as-is.
For a stereo audio track, the control will be "balance" and not "pan" (as it would be for a monaural track).
A stereo track (at least in Premiere) is by definition directed to Left and Right without further adjustment.
What software would one use to "mux" the file into the finished video? And how would that work in a professional workflow?
Usually the file received has a two pop which helps with sync, once synced, then I need to either mute the pop, cut it out, or mark an in point after it.
After that, I render out the file.
Usually the file received has a two pop which helps with sync, once synced, then I need to either mute the pop, cut it out, or mark an in point after it.
After that, I render out the file.
Noiz2
Sound Ninja
The common work flow would be for you to take the sound mix and bring it into your final picture edit and render the whole thing out. You would "mux" IF you have the fully rendered video and want to add you new sound to it to replace what is currently there. In that case you probably need to have the files be exactly the same length since I don't know if there are any common applications that will let you slip sync between the two files.
But on low budget stuff I have worked on they always hold off on the final render till the audio mix comes in and then render it all together.
You would get a generation loss if you took your final video render and then brought THAT file back into a NLE, added the audio mix, and then re-rendered to a new "final" render.
But on low budget stuff I have worked on they always hold off on the final render till the audio mix comes in and then render it all together.
You would get a generation loss if you took your final video render and then brought THAT file back into a NLE, added the audio mix, and then re-rendered to a new "final" render.
In Final cut 7, I'm exporting a master quick time file with with 6 discreet channels for a 5.1 mix to be created at a later date, I have them setup in this order below. Do I need to pan the L and R channels or do I can I leave them alone?
L
C
R
Ls
Rs
LFE
Is it preferable to export with 6 discreet channels or export it 5.1?
In the past I've just exported with 6 discreet channels, and the 5.1 was done by someone else when they made the DVD or DCP. However, I could make it 5.1 from the get go using compressor, is that better?
L
C
R
Ls
Rs
LFE
Is it preferable to export with 6 discreet channels or export it 5.1?
In the past I've just exported with 6 discreet channels, and the 5.1 was done by someone else when they made the DVD or DCP. However, I could make it 5.1 from the get go using compressor, is that better?
Last edited:
Rick R
Veteran
"Is it preferable to export with 6 discreet channels or export it 5.1"?
- I'm not familiar with FCP, but I'd save the 6 discreet PCM channel/files or a 6 channel poly. You can always encode it to a format of choice later on. Not so easy in reverse, and most 5.1 encodes are lossy as well.
- I'm not familiar with FCP, but I'd save the 6 discreet PCM channel/files or a 6 channel poly. You can always encode it to a format of choice later on. Not so easy in reverse, and most 5.1 encodes are lossy as well.
Noiz2
Sound Ninja
I would do discrete also. I would also check what the channel order is that you want to end up with. What you have is the film standard, but there is another order that is was used for video. I forget the full order but it had L, R, then I think the surounds, etc. It was the order that FCP used to default to. If you output discrete then it's not a big deal to shuffle them if the order is not what you end up needing. It's a bigger pain if it's a polly file.