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4

I actually often design sounds in 5 channels, in rare cases 5.1, but you must be absolutely positively certain why when doing it. Most sounds I actually do in mono, and others in stereo, always adapted to what works best for the project, both in style and, for exaple if there are to be any reverb or general processing. How I do it depends on the sound. Say ...


4

Hi Andrew, Here are the short answers to your questions... Yes... the downmix is part of the Dolby or DTS decoder built into the DVD player. It's not an option, if the Dolby or DTS logo is on it, it will do it. I'm not from London, but any authoring house should be able to do this for you if you give them both sets of tracks - you need to have two separate ...


4

Here's a way to obtain this result using ffprobe and ffmpeg. First, let's see what audio streams are available in a given file : $ ffprobe my_input_file.m4v What we are interested in this part of the output : Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, smpte170m/smpte170m/bt709), 718x552 [SAR 64:45 DAR 5744:3105], 1023 kb/s, 25 ...


3

I agree with Christian too. As a short and direct answer, I may work in a stero or 5.1 environment, but I always cut my elements as mono or stereo and give them a virtual premix (e.g. leveling, panning). Let the stage care of the rest. If I have to crash down my edits for certain technical reasons, I'll crash them down strategically for what's intended to ...


3

A lot of people are mentioning cost and overlooking the concept of aesthetic choice (props to Brendan Rehill for mentioning it). Multichannel surround isn't necessarily the best choice for all theatrically distributed films. Documentaries are a prime example. Yes, you can mix a documentary in surround (and some/many do), but few suffer aesthetically in 2 (or ...


3

Some conceptual reasons have been expressed by Walter Murch and Michel Chion: mono/stereo centre the viewer's focus on the screen and diegetic world, further supporting the suspension of disbelief. Having sounds emanating from the physical theatre space can draw the audience's attention the fact that they are in a cinema and divides their attention between ...


3

What you call a fold down is called a downmix in ac3 standards. The default settings for an ac3 decoder making a downmix of a 5.1 stream to a stereo output is the following (as mentioned here : http://www.dolby.com/us/en/technologies/dolby-metadata.html) : Left and Right channels are sent to their respective L and R channels. Center channel is sent to both ...


3

Working on headphones for a 5.1 mix is not a good idea. Nevertheless, what you might be looking for is a 5.1 to binaural renderer. An example of such a product can be found here : http://smyth-research.com/technology.html What I would suggest is doing most of the job (editing, premixing stems, filtering, etc.) on a stereo monitoring system (therefore ...


2

Calibrating without and SPL meter is not calibrating...period. You're a bit out of luck with the 003 in terms of controlling the other outputs, as well. You will definitely need some sort of surround controller; preferably one that has bass management built in. It may seem like a moot point if you don't have a sub-woofer, but you'll need a sub-woofer ...


2

This is a great discussion. Last year I finished up a walk-and-talk feature, a la Before Sunrise. While meeting with the director, he was pretty sure he only wanted a stereo mix of the film - there was no distribution deal, no theatrical run set up at that point, and in the interest of keeping budgets (both financial and time) low and tight, we agreed that ...


2

I've used divergence to good effect on feature documentaries. The narration can be diverged slightly across LCR (30% maybe) to give it a different soundfield to centre channel only dialogue and interviews. It's particularly useful in sports documentarie, where the archive material may have a commentary on it which needs to be heard, but still to feel ...


2

Soundfield UPM-1. Lower budget solution Waves UM 225 or you could try Iosono Anymix. They all work best with stems though. Try the demos and see what works best for you. None of these are a "click a button and done product" though, then again, nothing in this field of work is, or rather should be. Good luck.


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You cannot run SPDIF cables on an iMac , simply because SPDIF use RCA connectors .. Your data will get scrambled if you use an adapter on it. If you want to use 7.1 your iMac. The only way you can do it is with a significant quality AD/DA Convertor (Sound Card), which works a primary sound card for your iMac. Your iMac will generate outputs only based on ...


1

To answer question 2, the surrounds are generally used for ambiance unless you are doing something like action or sci-fi in which case you can be a bit more experimental and put sound FX or musical elements into the surrounds but be very careful - the last thing you want is for people to be distracted by FX coming from behind them. The basic way to do a 5.1 ...


1

In answer to 1) Use cross fades and volume automation to smooth out BG levels, keeping voices the same level (bearing perspective differences in mind). Cheat in alternate readings where noise is very bad. Cover very bumpy spots with sound effects such as car bys, etc. Cleaning out noise can be done, of course, but don't harm the voice quality in the ...


1

I've found in past experiences that 5.1 ambiences are great for a bed, but you would be best off with layering in some stereo tracks in order to create a wider sound field. The distinct stereo tracks will widen your soundscape, a 5.1 ambience doesn't have the same perceived width because you are sending very similar sound to all the speakers.


1

I recently made records in Vietnam in 5.1 also in the jungle. But 'Jungle' is a very wide term, so if you could be more specific, I can check if I have something for you. For example the jungle in Vietnam was very misty and quiet and completely different for example to a jungle in brazil. Also, if you are working now on the filmset, why are you not ...


1

You'll have to export stems for him. Or a whole bunch of consolidated audio files of each track. I use REAPER as well and if I was doing something like this I'd look at doing stems. Something along the lines of: - Dialogue - Atmos - Foley - SFX (possibly multiple stems here depending on the complexity of your design) - Music I'd ask him what he would like ...


1

It is best to use the extra head room for dynamics rather than continuous loudness, especially in a horror film, dynamics is your most powerful tool. Set up a monitor level to a standard 85 dB, ten use your ears. While working on loud scenes for an extended period you can reduce the SPL to say 80, but switch back to 85 from time to time to check your work. ...


1

try art4noise.com, not sure on their prices but an awesome bunch of guys who really love what they do work there.


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Most home entertainment receivers allow for Bass Management by setting the 5 monitors to ' small ' in the set-up menu - thus sending their low end (generally crossed over @ 80-120Htz) to the sub. As georgi.m suggested: it would be good to read up on bass management theory to fully grasp what's going on here and how it affects your playback monitoring... ...


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Read up on http://en.wikipedia.org/wiki/Bass_management


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A surround system with a higher speaker count simply adds (or attempts to add) to the level of spatial immersion that's achievable. 5.1 is good for home setups, because going to the higher speaker counts a) costs more b) is more difficult to configure correctly. If you don't know what to pick, then buy a speaker set. And I would advise it in any case, ...


1

Regarding Jake's level question: it is my understanding that the film sound SPL spec of 85dB applies to large mixing stages and large theaters. It is generally understood that in smaller rooms (like small post rooms), lower monitor levels are needed--for example, the TV standard for small rooms (ATSC recommendation) is 76 dB (C weighted-slow meter response ...


1

Haven't set one up myself, but I know a lot about 'em! It's a rather broad question, really. But to answer your specific request, the surround speakers are often set in an array in order to broaden the sweet spot for the audience. As such, the speakers closest to the front on each side are typically at a lower level than the speakers at the furthest rear. ...


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If you want to be able to mix in surround, your interface will need 6 outputs for 5.1 and you will need the appropriate monitors, ideally 5 spakers that are all the same but you can get away with the centre and surround speakers being a smaller box as long as they come from the same family. If you are just track laying and don't need to monitor in surround ...


1

No, sorry. You will need at least 6 outputs for a 5.1 system. One for every channel. I don't see any other way. But even if there was a devise I don't think it would be cheaper than just buying a sound card with 6 outputs.


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Create aux sub group tracks for each of the stems you need like dialog, music fxs etc, then set up record tracks off those so when you lay off the programme you can create all the stems, the full mix and the M&E mix in one pass. The principles are the same fro surround with downmixes to create stereo versions as well. Spend some time building a ...


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My 2 cents, I agree with Shaun that it all comes down to the choice of the filmmaker. I much rather like the idea of shifting focus as part of storytelling than to just plop the viewer in the middle of every environment in the film by way of surround audio. It also doesn't always serve the story. I myself as a viewer can't count how many times I have sat ...


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