Thread: Feature Film Deliverables

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  1. #1 Feature Film Deliverables 
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    My distributor is asking for eight channel audio in .wav files and I can't deliver what they're asking for out of any Adobe application. I can export multichannel .wav files from Premiere (through AME) but I'm limited by the 4gig cap. I can export .wav files over 4gigs out of Audition, due to RF64 support, but no multichannel over 5.1.

    It's obvious you have the technology, so please implement it!!!

    Hoping someone from Adobe can chime in and offer an update on when and if we'll have this much needed option.
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  2. #2  
    Senior Member Doug Beatty's Avatar
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    Possible solution: render out each track separately and then stitch them into an 8 track poly file using Wave Agent.

    Must be a common thing if your distributor is asking for it, so perhaps folks are not using Adobe products to deliver to their spec. Tell them your problem and ask them how their clients deliver and maybe they can point you in the right direction.
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  3. #3  
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    Thanks, Doug.

    I tried wave agent but it suffers from the same 4gig limit as Premiere Pro. It appears the only software capable of this is Pro Tools. I'm mostly shocked that Adobe Audition lacks multichannel support as it's touted as a professional application. Not bashing Audition by the way, I think it's a wonderful addition to the CC suite. But it needs to be updated if it wants to compete with Pro Tools.
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    Quote Originally Posted by Daniel Doherty View Post
    My distributor is asking for eight channel audio in .wav files and I can't deliver what they're asking for out of any Adobe application. I can export multichannel .wav files from Premiere (through AME) but I'm limited by the 4gig cap. I can export .wav files over 4gigs out of Audition, due to RF64 support, but no multichannel over 5.1.
    I would strongly, strongly recommend that you use Pro Tools rather than Audition for editing, mixing, and delivering sound for a multi-channel feature film.

    Note that passing rigid technical requirements for EBU Loudness is very high on the list of most distributors these days. This kind of thing is challenging even in Pro Tools; it's nearly impossible in Audition.

    If you're in Burbank, there's over 100 local mixing houses that can go through the tracks and create a single multitrack WAV file that precisely syncs up with your video master. Some of them are quite affordable, and pretty much all of them are extremely familiar with standard theatrical and broadcast standards for getting sound cleared through QC.
    marc wielage, csi colorist/post consultant daVinci Resolve Certified Trainer
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  5. #5  
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    The film was edited and mixed by a professional using Pro Tools. Subsequently, scenes were cut. It doesn't take a professional to lay tracks on a timeline, assign channels, and export. That's simple stuff that should be achievable using Audition.
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  6. #6  
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    Daniel, if you do find a solution, please post it, going through a similar thing myself.

    That 4gig wav file limit bit me in the butt in both FCP and Premiere.
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  7. #7  
    Senior Member Brad Allen's Avatar
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    Where are you guys coming unstuck with Audition? If you're in the Waveform view you should be able to create files with up to 32 channels of audio. The 5.1 limit only applies to doing audio mixing in the multitrack view but it doesn't sound like you're actually trying to do any mixing as it's already been mixed in Protools.

    I just created two hours worth of Pink Noise in a 7.1 wav file without any dramas to test.
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    Senior Member Simon Dunne's Avatar
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    Quote Originally Posted by Marc Wielage View Post
    Note that passing rigid technical requirements for EBU Loudness is very high on the list of most distributors these days. This kind of thing is challenging even in Pro Tools; it's nearly impossible in Audition.
    Audition has been AS-11 compliant for over 2 years now when it comes to loudness. You can set your LUFS to whatever you like.

    Getting back to the issue in hand, the thread of the title is Feature Film deliverables. As you're trying to export 8 channels, i guess you're after an 7.1 mix and not 8 separate channels. Have you tried exporting as an AVI movie for a workaround?

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  9. #9  
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    Quote Originally Posted by Daniel Doherty View Post
    The film was edited and mixed by a professional using Pro Tools. Subsequently, scenes were cut. It doesn't take a professional to lay tracks on a timeline, assign channels, and export. That's simple stuff that should be achievable using Audition.
    If they were done originally in Pro Tools, then why not have the sound editor go back and reconform the old sound to the new picture? This should only take a couple of hours at best, and it'll guarantee everything is absolutely in-sync without even the possibility of clicks, thumps, or other potential flaws.

    Note there are other issues involved beyond just getting the channel assignments correct: for example, are you hitting the acceptable industry-standard loudness levels? Note there are different standards for theatrical and TV, and some distributors are real sticklers for getting this absolutely right (not just close).
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  10. #10  
    Senior Member Brad Allen's Avatar
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    Quote Originally Posted by Marc Wielage View Post
    If they were done originally in Pro Tools, then why not have the sound editor go back and reconform the old sound to the new picture? This should only take a couple of hours at best, and it'll guarantee everything is absolutely in-sync without even the possibility of clicks, thumps, or other potential flaws.
    I'm in agreement with this ^^

    If scenes are being cut from a version of the film, then I'm not sure why it doesn't go back to audio to have an alternate version created - not only to cover any technical hurdles, but also to ensure any creative decisions are handled by audio in how the scenes bridge from one to another.

    Having said that, I regularly use Audition to create 5.1 mixes for Ads that are going out as DCPs to Cinema. But these are measured in Dolby Media Meter to ensure that correct loudness levels are hit. (Which is typically based on LEQ M rather than LKFS from what I've seen).
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