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Old 22nd May 2019
Gear Addict
Leverson's Avatar
Agreed with what Pentagon said above. As long as the files have metadata Pro Tools will import them in the proper channel order. Otherwise it should be fairly easy to tell if something is weird by looking at their waveforms/listening.

If you are worried then have the composer prep and deliver the score to you in a separate Pro Tools session. This is the easiest to import. I've worked with many composers that compose in a variety of different non-PT setups but still can deliver to me music sessions in Pro Tools as a turnover.

If the composer knows what they are doing, let them mix how they feel the music should be mixed and you can always adjust things later on the stage if needed. I agree with Pentagon its better to have a proper LFE than an artificially generated one. If they are inexperienced then it might be worthwhile to caution them about being aware of keeping score out of the center channel (or at least out of the way of the dialogue), or going too heavy LFE, etc, but if they know what they are doing then let them create their vision. Sometimes I get surround score deliverables in quad, sometimes in 5.1, it doesn't really matter to me as long as it sounds good and it works with the film.

Splits are always important, just be aware in your session that splits for 5.1 files can eat up a lot of voices (especially if you are checkerboarding) so make sure you can power everything in your setup, and it would be a good idea to chat about how many stems to deal with ahead of time to find the right balance between control vs unreasonable amount of tracks.

But getting 5.1 scores from composers that can compose in surround and know what they are doing is wonderful.