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Mapping Audio Channels in Premiere Pro

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[whirring] [ADOBEĀ® TV PRESENTS] [SHORT AND SUITE] [mechanical clunking] [JASON LEVINE] [clunking continues] [KARL SOULE] [clunking continues] [whirring] [SHORT AND SUITE - ON THE ROAD WITH JASON AND KARL] Hi, and welcome to another Short and Suite. One of the biggest questions that I run into out in the field has to do with how audio channels are mapped in Premiere. Most cameras record separate discrete audio channels. They either record two channels, four channels, and so on, and there seems to be some mystery as to how Premiere Pro handles these audio channels when they're brought in. If you're familiar with working in Premiere Pro, Premiere timelines can have either stereo or mono tracks. So this is a single audio track showing up here, and you can see that there's actually two tracks within this. This is a stereo track, and there's a little indicator here in the timeline that shows that as well as we can see the left and the right track. Well, how did Premiere Pro know, when this clip was dragged on the timeline, to put the audio into a stereo pair? That's decided by something called Audio Channel Mappings. And by default, Premiere Pro looks at different formats, and certain formats are kind of designated in the specification for the camera as mono tracks. Other cameras may be specified as having a left and a right pair. And so there's actually some voodoo behind the scenes where, depending on the format of file that you're bringing in to Premiere Pro, it's going to automatically map the channels, either to a stereo pair or to individual mono tracks. But you can easily change this. The one thing to be aware of is you want to make sure and change this before you start dragging clips onto a timeline because once a clip is on a timeline, it's kind of locked into whatever mode it was on that particular timeline. There's no way of going back and saying, "Hey, I want this particular clip "that's already on a timeline and already has a stereo track in the timeline, "I want to now change that to two mono tracks." Unfortunately, you can't do that because then Premiere would have to go through every timeline in every part of your project and revamp and make that change. There's no current way of doing that. But as long as the clips are just in your bin and you haven't put them on a timeline yet, it's relatively simple to make this change. So here I've got a series of clips, and if I click on these, you'll notice that up here in the Project bin, it's showing that this currently is being brought in. This is AVC Intra footage, and it's currently showing as having two mono tracks. I can go through and click on each of these different clips, and you'll see here is an example of a clip with four mono tracks. Let's say we want these clips to be stereo clips, so we want this to show up as a stereo pair automatically panning left and right channels. All you have to do with this clip is right click on it, go into Modify and choose Audio Channels. And when I do this, you can see right now this is showing up. It's got the Audio Channels. It's showing Mono channels, and it's showing Channel 1 and Channel 2 are both enabled. From this panel there's a lot that you can do. You can turn off unwanted channels. You can also take channels and pair them up. So if I wanted to change this from Channel 1 and Channel 2 to a single stereo channel, all I have to do is click this box here. And you can see over on the right-hand side here it's showing that Channel 1 is going to be left track, Channel 2 is going to be right track based on this little icon here. So from here you can also play the clip if you want to make sure everything is going to sound good. Another thing that you can also do is you can come in and you can choose something called Mono as Stereo. This is really useful in cases where you have maybe a single track. You can set this to Mono as Stereo, and what this is going to do is it's basically going to take Channel 1 and it's going to split Channel 1 evenly across both a left and a right track. This is really useful if you want to stick with stereo paired tracks in your timeline. You don't want to have things suddenly jumping down into and adding mono tracks to your timeline sequence. You want to keep them all relatively close together so that you can do cross dissolves and things between them. But you only need the audio from, say, Channel 1. Maybe you were using a mono microphone, maybe Channel 2 is just ambient noise that pretty much you just want to get rid of it for the sake of this edit. That's also something that you can do. So once you've gone through and done this, basically, you can do this on a multiple selection as well. If I needed to, I could select a bunch of different clips by using Control or Command to select a bunch of clips, Modify, Audio Channels. I can make this a single selection to affect multiple clips very, very easily. And once I've done this, I'll know exactly how the audio is going to behave when I drag and drop my clips onto my timeline sequence. So there you have it. Pretty straightforward. Hopefully this helps you out. Thanks again. My name is Karl Soule. [Executive Producer - Bob Donlon] [Producer - Karl Miller] [Director - Kush Amerasinghe] [Post Production - Erik Espera] [ADOBEĀ® TV PRODUCTIONS - tv.adobe.com]

Video Details

Duration: 5 minutes and 19 seconds
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Language: English
License: All rights reserved
Genre: None
Views: 173
Posted by: adobetv on Oct 7, 2010

For editors dealing with footage using split-mono tracks (voice on one track, ambient sound on another) this quick tutorial on audio channel mapping is a must-see.

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