5.1 Dolby Digital export options in Adobe Premiere Pro

hello and welcome to video revealed I'm Colin Smith we're going to look at the advanced output portion of Premiere Pro going out to 5.1 there's a link I'll have that for the intro to 5.1 which is basically how to make the tracks how to automate the tracks before you export out this is all about exporting and the many settings that we have I have to have a shout out to the amazing Charles Van Winkle who is a computer engineer and an audio engineer and a classically trained musician at Adobe Systems who basically these are his notes I had no idea about all of these settings so if you've ever wondered about them these are the settings let's get into them so first of all I have 5.1 output right here so this sequence is already created at 5.1 in the tutorial before this we're going to export this out and file menu export media and what's important to understand is not every video format supports 5.1 output so if you're scratching your head and going how come this format doesn't support that it doesn't that's like going from Photoshop with layers to JPEG and thinking you have layers Adobe makes sure that when they make the files that they're abiding by in our case Dolby Digital settings so if Dolby says you can do it you can do it if Dolby says you can't do it as much as Premiere Pro wants to do it it's not going to do it so all of the settings are based on bolding so up top we're going to choose h.264 you could actually choose anything else that supports it like mpeg-2 blu-ray DVD lots of formats support it but we're going to jump into h.264 and primarily look at the audio portion I've closed all of these up just to make this a little bit easier to understand now the first one up here which a lot of times will default to AAC an AAC stands for advanced audio coding and I'll have a bunch of links in the description for you to get more information it's a good codec for mobile and web it's it's an MPEG based codec like a p3 but we don't care about that we're going to go to Adobe Digital so that's the first thing the audio format settings and when you change that one then you'll see things change here so if I go back to AAC you'll see I do get the choice of 5.1 but I'm going to go back to Dolby Digital I could choose different AAC versions here but like I said we're going to be doing Dolby Digital so it defaults to 6 I can't change that 48k I can't change that I can go in here and choose Dolby Digital Plus the biggest difference between doget dolby digital and digital plus is 5.1 Dolby Digital 7.1 in digital plus Dolby Digital is also called AC 3 or DD it's basic the basic Doby codec is used in cinema in DVDs and over air broadcast part of the ATSC standard see just why I got all the notes from Charles I would never know all this stuff Dolby Digital Plus is ec3 also called DD plus it's the successor to DD and AC 3 much like the AAC is the successor of mp3 and it goes out to 5 dot or 7.1 okay so those are the first two settings next is the bitrate setting in here where you can change the amount of the bit rate in kilobits per second now this is probably the first place that people start going crazy and I'm gonna turn this up if you don't know what you're doing and I don't I'm going by the presets inside here higher numbers are going to have a larger flow of data but that's the bit rate setting down in the configuration there is a default downing here now this parameter is only for digital Dolby Digital and Dolby Digital Plus you won't see this for any of the other formats it's a channel configuration this is the way they do channel layout in Dolby Digital in Dolby Digital Plus streams as required by Dolby so if you're using a really old version of Premiere Pro the order of these numbers is probably different for years Premiere Pro was outputting the channels to different numbers when I open this up you'll see multiple choices and again this is based on what Dolby wanted the LFE is not in here so if you're wondering how come three plus two equals five where's the sixth one that's this one over here enable LFE so the first one is one two one one channel plus one channel two channels not stereo is this is basically dual mono alright the next one is one channel and it's basically one channel in the front none in the back 2.0 is two front none in the back this is stereo left and right three is left and right center and the LFE which is the subwoofer two and one is two and the two in the front one in the back stereo left and right plus center surround and the LFE this is 3.1 left right center LFE center surround two and two left-right LFE left center left surround no center and this is the one that's basically the same as 5.1 you will notice this change if i turn this on and off see the LFE is out of there and then we've got dialogue normalization down here and right off the bat charles says this is a complicated topic I've got a link in the description for you to get more information it's a weird measurement of loudness that can be embedded into Dolby Digital stream that tells the downstream AV receiver in the home how to mix the audio example if night or quiet mode is turned on so you might have those options in your receiver it is often set incorrectly if done wrong some downstream AV receivers might play the audio too loud to compensate or too quiet to compensate best to leave it at the default if you don't know what you're doing so when I opened up configuration after choosing h.264 that bottom configuration was the default that's the one you want to use if you change it to the any of the other ones you're going to move the channels that you have they won't be there okay so that's the configuration we go back to the bit stream information and this is the stuff again because I chose Dolby or Dolby Digital so it's a flag that's set in the bit stream indicating what sort of content it is the copyright bit flag in the stream is if the stream is copyrighted supposedly downstream devices would prohibit copying if it's in here but not a lot of hardware honors this remember a lot of these settings are flags or settings that you don't hear they're not going to make a difference in what you hear it's just when the device at the other end gets the stream and it's looking through the metadata and it finds oh this is a copy written bit it's supposed to say oh you can't copy it the original bit stream is information only it just indicates that this is the original master of the sets around e.x mode down here at the bottom tells the downstream receiver if it should use this or not the option is only available if there are at least two surround channels okay next up is the down mix metadata so the down mix metadata tells the downstream decoder again the receiver how the content if it's more than stereo should be mixed to stereo because you know here's my example in my main living room upstairs I have two speakers and in my home theater downstairs I have 5.1 actually 7.1 surround sound but I can play the same material and I'm not missing anything upstairs in the stereo because the player knows how to play this back the Yamaha receiver that I have is reading this information and it knows when there's only two speakers plugged in so it now changes what's going out to those two and not missing the rest so that's what this information here it's basically it tells what to do with the the surround sound mix when you don't have those speakers the mixed levels just give specific down mix coefficients when summing to stereo so how do you turn down the center channel before mixing it to left and right this is why I asked an engineer these questions again I'm going to be using the presets alright so let's get out of the down mix there's a pre-processing and that's basically the DC high-pass filter it has a high-pass filter to the main channels not the LFE before encoding this might allow for a lower bit rate or better quality at particular bit rates by taking out super lows in the LCR LS RS so if you don't need the giant amount of LFE in those channels then remove them but don't take them out of the LSE every single bit of information you can remove out of some of these channels is going to reduce the amount of data that's needed alright there's also an El Fe low-pass filter it has a low pass filter to the LFE Channel prior to encoding same thing taking up the high frequencies in the LSE that aren't needed because that LFE does not play the high frequencies it's strictly the sub frequencies and then there's a 90 degree shift it only applies to surround channels a 180 degree shift would be the equivalent to polarity inversion which is like flipping the phase a 90 degrees is slightly more complicated concept to grasp it can't affect how the surround down mix to stereo and making it easier to extract them when doing Dolby stereo up mixing the 3 DB attenuation just drops the surround channels by 3 DB before encoding if we go a little bit further down here the dynamic range controlled these options tell again the downstream decoder receiver how to compress the audio when going out to line level out or old analog TV so I think one of the problems some people have is they'll look at something and they'll see the word film and they're going out to 5.1 and they'll think I want to make this film this is for going out to a line out or to an old-ass stereo TV and then the last one audio production information these are various options that tell the downstream decoder on how the audio is mixed the aid to D converter type if the audio went through an HD CD converter when the decoder downstream can do the right then the decoder can do the right thing going the other way the peak Mixel next level the loudness sound pressure level that was measured during the mix basically you need to have an SPL meter that measures what is coming to your speakers and the last one is the room type it indicates if you mix this to a small room or to a full Hollywood mixing stage so there you go thanks to Charles Van Winkle add Adobe for walking me through all of this because there is a lot of settings in there and unless you're a computer and audio engineer like him you probably scratching your head and wondering what they are what would I do I'll use all the damn default sets it works for me and if you watch my previous tutorial on how to set this up there's also a link to download a test file that I created using h.264 output directly 5.1 and 5.1 mixing automation in Premiere Pro alright hopefully you found this informative if you new to video reveals come on and take that moment and subscribe and if you want to support us a little bit more join us on patreon for a little as one dollar a month till next time I'm Colin Smith and it's my job to get the information from brainy guys like Charles and get you looking and sounding you

Channel: VideoRevealed

Views: 79,784

Keywords: Adobe Premiere Pro, Adobe Creative Cloud, Colin Smith, AdobeColin, video editing, VideoRevealed, video editor, edit video, surround sound, 5.1, dolby digital

Id: fxQEzVTtDXg

Length: 12min 40sec (760 seconds)

Published: Sun Feb 05 2017