I have a problem with integrating a surround mix into a concert film project, which is like this:
1) I have an unnested project (I shall call this Project A). All that happens in this file is that shots are selected from four cameras. It is synced to a temporary stereo track which was mixed in Protools. in order to maintain sync with the separate protools mixing master, there are no cuts in time in Project A.
2) The start of the Project A marks the start point the of multitrack files from which the temporary mix was made.
3) Project B is the project in which Project A is nested. This is where cuts in time are made. Also this is where editing of the nested audio track, including crossfades etc, takes place across several tracks in order to cover the effects of cuts in time.
4) I will soon have a surround track that I wish to intergrate into this project. I wish to retain the audio edits I have made and replicate them across all the surround tracks.
5) My plan is first to make a clone of Project B (called Project C). Then in Project C, I want to use the replace function to swap in a channel of the surround mix for the nested Project A, render it out from the start of the file, then move on to the next one.
6) I would then make a Project D, which is a clone of Project B, but with Surround mode switched on. As long as the unedited 5.1 channels line up with the original multitracks, I would guess that I could slot the rendered files into Project D and pan them to their relevent positions, and everythign should be in sync, with my edits intact.
Would this workflow work? I am concerned that in part 5 I am swapping mono files into a stereo slot. I want the audio to be left unaltered through this process. Could any dodgy summing of channel occur at any point? And would it be ok to hand the low frequency channel that way?
Many thanks for any guidance on this, as I find it very confusing!
Rob
1) I have an unnested project (I shall call this Project A). All that happens in this file is that shots are selected from four cameras. It is synced to a temporary stereo track which was mixed in Protools. in order to maintain sync with the separate protools mixing master, there are no cuts in time in Project A.
2) The start of the Project A marks the start point the of multitrack files from which the temporary mix was made.
3) Project B is the project in which Project A is nested. This is where cuts in time are made. Also this is where editing of the nested audio track, including crossfades etc, takes place across several tracks in order to cover the effects of cuts in time.
4) I will soon have a surround track that I wish to intergrate into this project. I wish to retain the audio edits I have made and replicate them across all the surround tracks.
5) My plan is first to make a clone of Project B (called Project C). Then in Project C, I want to use the replace function to swap in a channel of the surround mix for the nested Project A, render it out from the start of the file, then move on to the next one.
6) I would then make a Project D, which is a clone of Project B, but with Surround mode switched on. As long as the unedited 5.1 channels line up with the original multitracks, I would guess that I could slot the rendered files into Project D and pan them to their relevent positions, and everythign should be in sync, with my edits intact.
Would this workflow work? I am concerned that in part 5 I am swapping mono files into a stereo slot. I want the audio to be left unaltered through this process. Could any dodgy summing of channel occur at any point? And would it be ok to hand the low frequency channel that way?
Many thanks for any guidance on this, as I find it very confusing!
Rob