What do you do when you are asked for 7.1 deliverables?

[Phillip Harvey]

Hi everyone,

I know that Premiere does not support 7.1, so hopefully that doesn't make this immediately off-topic. My question for my fellow working editors here, what do you do when you are asked for 7.1 deliverables?

Context:

I'm working on a project that involves muxing a bunch of video and audio of various resolutions and with different audio specs. For example:

For each resolution I need to create a Stereo Version, 5.1, and 7.1 (audio mixes are provided), and each of those in both an H264 and ProRes4444.

For stereo and 5.1 it's no problem. I can do all that in Premiere.

For 7.1 I'm struggling a bit. I knew that Premiere doesn't support 7.1 so I went over to Resolve but I'm encountering some issues there.

1. There's no specific control over bitrate on an H264, and I'm ending up with some worryingly low bitrates (like 5-10Mbps) - and FWIW this has to be done in a quicktime container because I don't think AAC supports 7.1.

2. I can't export to ProRes, but when I export to DNxHR444, the color doesn't match any of the other encodes, even the H264 from Resolve (The DNxHR export is more faded/less contrast). Tried tweaking the color profile settings but couldn't see any changes. (Project is Rec709 with gamma 2.4, which is what the video is meant to be.)

So - I don't feel great about delivering these files out of Resolve for the aforementioned reasons. I'm thinking about - although hesitant to try - doing some kind of multichannel thing in Premiere, but I don't know that that's ideal either. I don't really know AVID very well, but is it possible there? What do ya'll do for 7.1 deliverables? Thanks!

[Title edited by mod for better search]

[R Neil Haugen]

I know what I would do ... run screaming through the night for @Jarle Leirpoll  !

Also, there's some of the folk on the Audition forum that could probably help with this problem.

Neil

[chrisw44157881]

what's stopping you from using OMF or AAF?

if you have mono non discreet files per track, it shouldn't matter. The final encode decides where all the channel's metadata goes. You can do that in another DAW like Pro Tools. The mixers and busses can store a lot more channels than you think.

[Phillip Harvey]

I've been provided mixes from audio engineers already, so there isn't any work that needs to be done to create these mixes. They just need to be paired with video. I'm pretty sure the goal is to create self-contained files for future projects. These are all logos/mnemonics at various resolutions, with various codecs, and with various audio mixes. Example:

Company A needs a 1920x1080 23.976fps with 5.1 audio

Company B needs 3840x2160 30pfs with 7.1

Internal Project C needs a 3840x1634 30fps with stereo.

Etc.

A valid question would probably be: why don't you just give the companies the video and audio separately and let them do it themselves? To which I would say, I'm not the producer, I'm just the editor tasked with doing it 😉 But I imagine just simplicity. They don't want other companies to get their mnemonic wrong.

These resolutions go up to 8k and they even want HDR and Atmos mixes for all resolutions. The latter two I said I wouldn't be able to provide. There is a bit of future-proofing going on.

As an update, I put Resolve on my weak little mac laptop and I was able to get ProRes 4444 with 7.1 mixes out on that thing and those didn't have the color issues I was getting from the DNxHR files.

[嵐雨27930777mqkm]

Hi Cane you teach me how to export Prores4444 with 7.1 sound，or where I can find tutorial >< I got same question for a while...