Converting clips to dual mono

I'm trying to convert HDV clips shot in stereo into XDCAM HD clips that will support write-back to my Sony PDW-U1. But the U1 only supports "dual mono" audio, not stereo. I'm looking at the audio tab in my Compressor settings, and don't see such an option. I have Mono, Stereo, Stereo Headphones, and on and on. I'm currently running tests, but has anyone found a way to create supported audio for write-back to XDCAM devices that would be dual mono? Or is there a feature in FCP that I haven't found?
Chris.

This has to be done through Final Cut Pro. Not possible to do in Compressor yet.
Have a look at this article: http://www.larryjordan.biz/articles/ljmultaudio.html
"In Final Cut Pro 6 the Sequence Settings window got a new audio export option called Discrete. This option is used with the Export QuickTime Movie command. If you choose this option, each exported QuickTime audio track is labeled with the corresponding output bus number of your sequence."
http://manuals.info.apple.com/en/FinalCut_Pro_6_NewFeatures.pdf
Here is what I would try doing.
1. Make a sequence in FCP with dual mono audio and add your HDV material.
2. Choose File > Export > Using Compressor
3. Create a new QuickTime Movie setting with the XDCAM compressor you want (under video settings)
4. Set the audio to Pass-through
5. Select at destination and a name for your clip and hit submit!
If that does not work, change the sequence settings in FCP to the XDCAM preset you want, change the audio output settings, and add your HDV material. Render and output.

Similar Messages

Can't get a clip to behave as Dual Mono

FCPX 10.0.9 is refusing to treat just one of my clips as dual mono.
When I right-click, show in timeline, it opens in a timeline with a single audio track showing.
For all the other clips / projects, right-click -> show in timeline reveals two separate audio tracks.
This clip was shot in the same exact way as every other clip. In fact, it was shot in between other clips that work.
When i select the clip, the inspector shows Channel Configuration - Dual Mono, in both the timeline and the event browser. Same as all the other clips.
If only I could slip the audio separately in the project timeline - but if I try, all I can do is select part of the clip - I can "Expand audio components" and see the two mono tracks in the timeline... but if I try to move them, all I can do is select parts of the clip, whichever tool I use. Can't move them separately.
Here's what I've tried:
1. trashing and re-importing the clip.
2. trashing and recreating the project.
3. doing both of those together.
3. duplicating the clip and importing that into a project. (this solved the same problem for another clip, but doesn't work on the current clip).
4. Quitting FCP and restarting.
5. Setting the source clip to stereo, back to dual mono, then re-placing it into the project.
6. Waiting for all the background rendering, wavefom generating, etc (this solved it for another clip that was refusing to be dual mono).
7. Copying the camera card to the hard drive and importing from there instead of straight from the card.
8. Importing the clip with "separate mono and group stereo audio" checked, then again with it unchecked
9. Opening the clip in quicktime pro 7 and changing the audio channels from "left" and "right" to "mono" and "mono."
10 quitting, renaming the clip in the finder, and reopening FCPX
One thing I notice is that through all theses steps, FCPX never has to re-generate the audio waveform files for this clip. It is seemingly remembering the clip and using a saved audio metadata set of some kind, which I think prevents me from solving the problem...
Dang! I was so enjoying FCPX after a year of premiere pro. Thought 10.0.9 had ironed out a lot of bugs, but glitches are the worst thing ever.

Wow - hours and hours spent... no solution...
OK, when I "expand audio + video" in the project timeine I get...
Then collapse that, and "expand audio components"
Wow! Dual mono. And the waveforms are clearly different, indicating true dual-mono. But I can't seem to independently move those tracks; all my tools just try to select parts of the clip.
If I click the clip and "open in timeline", it looks as above, but I no longer have the option to "expand audio components."
So for a different example, one that worked without any trouble or tricks...
Then right-click, open in timeline...
Very different result. That clip was shot AFTER the non-working one. The clip I shot before works as well. The odds that I changed something on my camera for that one clip, and then changed it back...??
I went through all my camera switches and menus (HMC-150, shooting AVCHD) and can't find anything remotely relevant to the problem at hand.
Also, as I said in my list of attempts at solving, a couple of other clips had the same problem and it went away with solutions 3 + 6 above. So it's definitely, in my mind, a program glitch.

Audio Meters view in Dual Mono configuraton

Can't understand why, setting a clip in Dual Mono configuration in the event browser, FCPX set the Audio Meters window in Mono view
whereas the same clip put on the timeline set the Audio Meters in the normal stereo view
It didn't happen in previous FCPX versions

IIn the browser the meters are looking at the clip. In the timeline you're seeing the meters for the project, probably the default stereo.

How to ripple delete a clip that has been broken out to individual items. (video and dual mono clips)

I have several hours video with dual mono audio tracks that I want to adjust volume etc descretly. I know I can "break apart clip items" to adjust each audio channel separately. But, after breaking apart the clip items, is there a way to ripple delete a section of video and both audio tracks at once? I have tried selecting and deleting but can only delete one "track" at a time. I have assembled them into a compound clip and cut out a selection, but, after a couple of cuts, the I got phantom audio playing way out of sync. I have tried using the blade tool, but, when I make the cut(s), the second audio channel slides up to "track one"... Any help would be appreciated.

glad that worked out for you. Yes trace is your friend.
BTW you need to use the array notation for everything and it is generally not such a great idea to use _root -- just in case you later load content into another swf the _root will change.
So if this were me....
var sp:ScrollPane=quiltpane
var myContent:MovieClip=sp.spContentHolder.quilt;
And then later
myContent["square"+loopcount];
Easier to read, easier to type. You can give those different names that are more meaningful for you. Also you will get code hinting since the variables are typed -- you won't get that with the array notation. You could even do something like:
for(var loopcount=0;i<numSquares;i++){
var curSquare:MovieClip=myContent["square"+loopcount];
curSquare._alpha=blah blah
blah blah blah.

Convert dual mono tracks to stereo in Audition CC

How do I convert dual mono tracks to stereo in Audition CC please?

Sorry, but your intentions here aren't clear.
Do you have two mono signals on one stereo track, or are you talking about two separate mono tracks that should be stereo, and you want them as a single stereo track?
With the latter, open one file and copy it to the clipboard. Open the other file, and use Edit>Convert Sample Type to convert it to 'stereo' (really dual mono). Select just the side you want to replace, highlight it and hit Delete - this should leave your original file on one channel, and nothing on the other. Place the cursor at the start of the empty section and paste the clipboard contents here. Save the result. You now have a stereo file.
If you have a dual mono file and you want some stereo ambience on it, then have a look at SHEPPi. This does a remarkably good job of that on mono files!
There are several other ways of doing file combining - you could do it quite easily in Multitrack mode, and there are also some utilities around that will do it directly for you - although you could easily be forgiven for being completely unaware of them, because generally they are used for reorganising multi-channel Broadcast Wav files, and don't show up using a simple search term.

Convert Dual Mono to Stereo in Timeline?

I don't think there's a solution for this, but I'll ask anyway.
I'm in Premiere Pro CC.
Due, I believe, to the way FCP xml is read, any project I import from FCP, and any sequence I send to PluralEyes and back, has all stereo audio clips split into dual mono. The clips are still linked, are designated L and R, and play back correctly, but it's an organizational pain in the *** to deal with when all of my other clips are correctly in stereo.
Is there any way I can relink/combine/merge the split audio back into a single track? This seems like it would be an easy feature to add, so I don't see why it wouldn't.
Merge Clips and Nest are both greyed out. Under Audio Channels, I can only change the source channels; Channel Format is greyed out.
Thanks.

I've found to way to do this myself.

Captured stereo convert into Dual Mono

Hi all,
Some of the footage I have to work with is captured as DV with stereo audio tracks.
That's not so nice, because the audio is actual 2 mono channels (2 different mics on interviews)
I know I can switch off the stereo pair in the timeline. But that's tedious. I need to alter everyclip everytime I drop it in the timeline. Also I cannot Unpair the clip in the viewer, while I do need that because I want to lower the level of only one channel during chosing the quotes (because of wind in 1 mic for instance).
So it would be nice to be able to alter the master clips in the browser from stereopair to dual mono.
But I canot figure out how. Can this be done in FCP?
Can this be done in Quicktime.
Any ideas.
thanks
Rienk
NB (I know how to set up dual mono in Log and Capture. It's just that 10 tapes, that someone else did capture in stereo, and I need to work with)

UODATE:
Just opened one of the good clips (captured as DUAL Mono) in Quicktime. Then I see 2 seperate soundtracks. Sondtrack 1 with one ch1 set to MONO and Soundtrack 2 with one ch1 also set to MONO. It that way it differs from the two channels in the one Soundtrack 1 in the clips that were captured as Stereo.
Export the original masterclip from FCP with Export using QT conversion. and set it to export 2 discrete channels will indeed create a file with 2 Mono cannels. And they import as such. "2 Mono" it says.
Reconnecting the master clip to the newly created Dual Mono clip let FCP still think this is a stereoclip (As Andy pointed out, this is indeed not working)
Reconnecting the sequence clips to the newly created Dual Mono clip seems to work. But when I do match frame, then there comes again a stereo-version of the clip in my viewer. (also of course this is because it is looking to the original masterclip that we cannot change in FCP, as we saw in the previous sentence).
So I found a way to create new Dual Mono masterclips, but still I'm not able to alter the originals to the sequence clips.
The building will close here. So have to leave.
But I will try if I can change the settings of the masterclips from within an XML...
OR the solution would be in QT to split the two channels in two soundtracks in Quicktime... But how?
Rienk
Message was edited by: Rienk

Transcoding XDCAM from stereo to dual mono

I'm actually using Compressor at the moment, but am trying to convert HDV clips shot in stereo into XDCAM HD clips that will support write-back to my PDW-U1. But the U1 only supports "dual mono" audio, not stereo. I'm looking at the audio tab in my Compressor settings, and don't see such an option. I'm currently running tests, but has anyone found a way to create supported audio for write-back to XDCAM devices?
Chris.

Panning the audio to the center does not work for me. Once you choose Dual Mono, a single track will be either left or right depending on which track it's on. I worked around this by making a new sequence with "Dual Mono" as the audio output. I then dragged the original HDV sequence into that timeline and my single channel-1 audio channel now comes from both speakers. But it's not stereo. Its Dual Mono. I wrestled with this into the wee hours and this was the only work around I could find to output a show to XDCAM without the audio being messed up.
Somebody needs to seriously get to work on fixing this problem. Many broadcasters are now accepting XDCAM as a submission format. This is great, but it has some serious drawbacks as it sits right now.
Ken

How do I import stereo audio as pan centered, "Dual Mono?"

Greetings,
For most of my video recording, I’m running two wireless mics and am recording in stereo.
90% of the time, I’m working with one track or the other and, because I’m cutting for broadcast news, the pan for the audio needs to be centered.
Is there a way to import the audio I recorded in stereo as Dual Mono with the pan for each channel center?
It’s a pain to have to go through each clip and make it Dual Mono and then chose Pan Mod Default to center it.
I bring in my video as indiviaual clips so I can’t select a single clip in the Event Panel and make my changes for the whole project.
Regards,
Steve

Select the clips in the event, and set the audio as [Dual] Mono!
There is, as I remember, no option for this during import - but you can select multiple clips and set it on all at once.

Multichannel audio downmix monitoring / "Map to Dual Mono" disengages when working with another sequence

I typically like to edit with multichannel / mono audio channels, but monitor audio with regular speakers by way of downmixing. I found the useful "Map to Dual Mono' button in the audio track mixer which allows one to monitor all the split channels mixed. The problem I've encountered is when I switch from the multichannel sequence I'm working in over to a regular sequence with other audio settings, and then go back to the multichannel sequence that I started with. When I do this, the "Map to Dual Mono" button disengages, and I'm not able to monitor the audio in the mixed way I'd like. After pressing the "Map to Dual Mono" button, everything's o.k. again.
Is there a way that once the "Map to Dual Mono" button is activated, that it stays activated, without having to re-press it again and again?
Here's a video description of my audio monitoring question: Adobe PP CC downmix disengages - YouTube

mmmm this is an odd one... the only thing I can think of is that you are changing these clips once they're in the timeline. It's done with a keyboard shortcut: option+L... it will change a dual mono track to a stereo pair. You can change these files back though... typing opt+l toggles the condition back and forth.
Jerry

Can Compressor downmix from stereo (dual mono) to mono?

Seemingly simple question - when compressing DV/AIFFs to web H.264/AACs, is there a way to downmix from stereo(dual mono) to mono without boosting the level?
I don't care if it just uses the left channel, the right channel, or mixes both together - I just want it not to clip 0dB when it comes out mono. Is there a way to do this in Compressor?
(NOTE: without using the Peak Limiter filter to lower the level, which always seems to cause the job to fail)

I've been editing NLE for over 15 years and have never once used a "mono" track, never felt a need to, and Premiere tracks default to stereo normally, which matches my sources. All delivery is typically stereo anyway, so in the case you have with wanting to use just one mic, the Fill Left or Fill Right works perfectly to "Pan Center" so to speak. Hopefully this will suit your needs. Maybe I have tunnel vision and am not understanding how a mono track is uniquely useful, but always open to learning new things.
In the situation where I might need to switch mic sources from time to time within the same stereo clip, for instance a wedding with a shotgun and wireless lav, I just use the Razor to put cuts in the audio clip where I want to switch. I just alternate applying Fill Left or Fill Right to each cut segment as needed, and throw in an audio crossfade at the cut point for a smooth transition.
If I need to MIX the left and right channels in varying degrees of volume, I will duplicate the stereo track and apply Fill Left to one and Fill Right on the other and this has the same effect as two mono tracks, each centered. There's certainly many ways to accomplish the same thing with almost any aspect of editing and that's just how I do it, not wrong or right really.
Thanks
Jeff Pulera
Safe Harbor Computers

Why Does FCE capture DV audio as dual mono instead of stereo?

FCE captures DV audio as dual mono audio files instead of a single stereo audio file. You can see this if you "Show Movie Properties" in Quicktime. Files I captured in Premiere 6 years ago have a single stereo file. The problem is that the new dual mono format for DV won't play on the Final Cut Pro 3.04 installed on my wife's G4 (OS 10.4.11, Quicktime 7.6.2). FCP 3.04 doesn't see any audio for these dual mono files though it will play the video. It won't even create an audio waveform. But FCP 3.04 plays the older stereo audio clips captured in Premiere just fine. And if I export the dual mono files out of QT as a stereo file, then FCP 3.04 will play them just fine.
This lack of backward compatibility is quite frustrating. I can't seem to find a setting in FCE that will capture audio as a single stereo file. Why isn't NTSC DV always stereo? I guess maybe they had to go dual mono to facilitate surround sound panning in 5:1 or something. If nobody knows how to do this in FCE, I guess I'll just capture in FCP 3.04. I spent the better part of a day figuring out this hidden little tidbit. The lesson is don't try to go back!! We must always accelerate forward into newer versions and formats.

The problem is in your wife's machine. She is using a version of the OS and QuickTime that are much too new for the version of the software she's using. She really not not be using an OS newer than 10.4.10 and QT should 7.2 or earlier.
Yes. I was beginning to suspect that this was at the root cause of my issue. Thanks for the info. Frankly, my wife needs to buy a new Intel iMac so we'll both be able to work on the video I'm dumping. I had FCP 3 lying around from years ago and it's the only thing that might have worked on her old G4 AGP, so I thought I'd give it a try.

Dual Mono Audio Mysteriously Changes to Stereo When Match Framed - Why????

Hello everyone,
I am having a very unusual problem with the audio on my project, which I'm working on in FCP 5.1.2. All of the audio was captured as dual mono (channel 1 + channel 2), and yet when I match frame the audio clip from the sequence it shows up in the viewer as stereo, panned to -1. When I double-check the source clip in the bin, it is dual mono panned to 0, as it should be. Also, the clips mysteriously seem to pan -1 in the timeline occasionally, even on sections that were verified as being correct in timeline previously.
Does anyone have any idea why this is happening, and any solutions?
Thank you so much,
mynaah

mmmm this is an odd one... the only thing I can think of is that you are changing these clips once they're in the timeline. It's done with a keyboard shortcut: option+L... it will change a dual mono track to a stereo pair. You can change these files back though... typing opt+l toggles the condition back and forth.
Jerry

Need to put HD clips in SD sequence without aliasing, any way to do this without converting clips to ProRes?

Editing a 1080p project shot with Canon 5DMkii.
Have a 1080p H.264 sequence that I planned to change to ProRes when all finished, before exporting to make a DVD.
Many shots have problems, and the only way to get around them is to reframe.
I figured, no problem, DVD video is SD, so I have 600+ pixels of frame-height to play with.
Now I have a rough cut and I have put some clips into a sequence preset to 720x405.
Unfortunately, when the original clips are anything other than 100% of their 1920x1080 size, it’s aliased as heck.
EXCEPT when you convert the original clip to ProRes.
I didn’t convert to ProRes before editing because it quintuples the size (the project has 45GB of footage and my internal 1TB HD has limited space), plus on this project the small difference in final-product quality that converting before editing brings wouldn’t matter.
I really do need to reframe many of the shots, and I wouldn’t terribly terribly mind converting to ProRes now, except that when you do, Compressor adds “ProRes…” to the new clip name, so you couldn’t just reconnect the already-edited sequence with the newly converted clips (or could you)?
So,
Can the downsizing of HD clips in an SD sequence be done without aliasing?
If not, can a whole sequence (15 minutes) be reconnected to clips to clips that
have the “Apple prores 444 hq” added to their name? (I tried and the converted clip is grayed out, can’t select it)
3. If not, can the whole 45GB of footage be converted to ProRes, but keep original names unchanged?
If none of the above is possible, any other solution?
Thank you very much

That is a non-standard sequence setting. SD in NTSC land isn't 16:9. It is 4:3 anamorphic. 720x486...anamorphic (squeezed).
Editing H.264 straight from the camera is wrought with errors. Besides the sluggishness of it, the non-RT playback...exporting has all sorts of issues. Not exporting proper sections of footage, not exporting the full sequence (the tail might get cut off), loss of sync upon export...much more. All of those issues have been mentioned on various FCP forums. H.264 is not a codec FCP 7 deals with well at all.
Converting to ProRes before editing is your only way to ensure vary little issues. And converting to ProRes 422 is recommended. Not HQ...not 4444. Your footage will not see any benefit from those formats, even though they sound more impressive. All you will get is larger files. Heck, since you are going to DVD, ProRes LT would be the optimal choice. Even if you went to BluRay, ProRes LT would be fine for that format. H.264 is an 8-bit format...ProRes LT or 422 will get it to 10-bit, and allow for better grading. But ZERO benefit will be had with HQ or 4444...those are for other uses...with higher end formats.
Not enough space? Get another drive. Internal SATA, if you have a MacPro...are 2TB for under $150. You can get an external 2TB for $200-$300.
3. Yes...use MPEG STREAMCLIP to convert the footage to ProRes. 422 or LT are recommended. Then you can reconnect, but you will need to make a new sequence that is ProRes...not H.264.

FCPX Dual Mono vs Stereo question

Hi everybody - I've been busy but recently on the Zumiez show I came out of it with a question:
I like to route each of my AJA KiPro ISO records two separate channels of audio, I send a line-feed to CH. 1 (left) and I run a NAT mic feed to CH.2, (right). If I bring the captures into FCPX, for example to create short lifts, I want the producer to be able to choose between the line feed or the ambient mic, so I leave them as "Stereo", but it isn't really a stereo track. I needed to adjust the levels, raise the line level and lower the mic level, but I can't do that unless I designate "Dual Mono". When I designate Dual Mono, I can adjust the levels seperately and even apply filters indivisually, but then the channels are summed mono.
How do you keep stereo seperation on two individual tracks and still be able to make individual adjustments? Or maybe another way to the same goal; can I set hard pans on a pair of Dual Mono tracks?
Thanks for any help! -Stephen

Hi everybody - I've been busy but recently on the Zumiez show I came out of it with a question:
I like to route each of my AJA KiPro ISO records two separate channels of audio, I send a line-feed to CH. 1 (left) and I run a NAT mic feed to CH.2, (right). If I bring the captures into FCPX, for example to create short lifts, I want the producer to be able to choose between the line feed or the ambient mic, so I leave them as "Stereo", but it isn't really a stereo track. I needed to adjust the levels, raise the line level and lower the mic level, but I can't do that unless I designate "Dual Mono". When I designate Dual Mono, I can adjust the levels seperately and even apply filters indivisually, but then the channels are summed mono.
How do you keep stereo seperation on two individual tracks and still be able to make individual adjustments? Or maybe another way to the same goal; can I set hard pans on a pair of Dual Mono tracks?
Thanks for any help! -Stephen

Converting clips to dual mono

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