Currently editing dialogue for a short documentary, and I'm wondering, do you guys out there split off PFX in the same way as you do with narrative film work? I'm mainly wondering if you do this because, in addition to the M+E, it's my understanding that we split off PFX because they can pump the expanders/compressors set for the dialogue.
Hmm... as long as you deliver within the network's level/range requirements, how you mix the programme is entirely up to you, no? On most documentaries, I don't quite imagine there being enough time to do a proper split/organise on every stem. Also, are you delivering an M+E or a dipped/undipped pair? Very likely that extra material would go to another mixer person first anyway. Does the station in question really have an additional dynamics processor other than a master limiter in the sound chain? That could make things sound like crap by default..
You normally only split off the PFX if there is time, typically the budgets are too tight.