![]() ![]() This is a simple example with 3 regular tracks and 3 submix tracks, because this was a simple project. Next, add the number of tracks you need and assign them as “standard” for the regular tracks or “stereo submix” for the submix tracks. My requirement is to end up with an 8-channel file that includes a stereo mix, plus stereo stems for isolated dialogue, sound effects and music. Start by changing the track configuration to multi-channel and set the number of output channels. By default, sequence presets are configured with a certain number of tracks routed to a stereo master output. The first thing you’ll need to do is create a custom preset. That’s better than trying to sort it out at the end of the line. This process is relatively easy in Premiere, too however, you have to set up a proper sequence designed for this type of audio work. When it comes to audio editing and mixing, I find Premiere Pro CC’s approach more to my liking. ![]() Assuming that you’ve done this for dialogue, sound effects and music Roles on the source clips, then the stems become self-sorting upon export – based on how you route a Role to its corresponding export channel. However, to do this, you need to make sure you properly assign the correct Roles from the get-go. It’s easy to generate a multi-channel master file with isolated DME stems in FCP X, by using the Roles function. ![]() I’m usually editing in either Final Cut Pro X or Premiere Pro CC these days. Since I am editing these in Premiere Pro CC, it is important to also create new split-track submasters, with the revised music tracks, should we ever need to do this again in the future. These have become the new source for our edit – now 6 years later. However, in 2010, I had exported split-track submasters with the final picture and isolated stereo tracks for dialogue, sound effects and music. Although it may have been possible to resurrect the old project files, doing so would have been problematic. These videos were originally editing in 2010 using Final Cut Pro 7 and mixed in Pro Tools. A large corporate client needed to replace the music tracks on 11 training videos. Creating such split-track submasters at the time you finish your project can often save your bacon at some point down the line. In other cases, the music and effects stems are combined to end up with a single stereo M&E track (music and effects minus dialogue).Īlthough this is common practice for entertainment programming, it should also be common practice if you work in short films, corporate videos or commercials. In these cases, rather than 3 stereo DME stems, you might have 4 or more. Comedy shows may isolate the laugh track as a stem. For example, sports shows often isolate the voice-over announcer material from an on-camera dialogue. There are also other variations for sports or comedy shows. Obviously, if you have a 5.1 surround mix, you’ll end up with a lot more tracks. The simplest form is to have 3 stereo stem tracks (6 mono tracks) for left and right dialogue, sound effects and music. The benefit of having such stems is that you can easily replace elements, like re-recording dialogue in a different language, without having to dive back into the original audio project. ![]() These isolated tracks are normally at mix level, meaning that you can combine them and the sum should equal the same level and mix as the final composite mixed track. These elements are typically called DME (dialogue, music, effects) stems or splits and a multi-channel master file that includes these is usually called a split-track submaster. Stems are the isolated submix channels for dialogue, sound effects and music. When TV shows and feature films are being mixed, the final deliverables usually include audio stems as separate audio files or married to a multi-channel video master file or tape. ![]()
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