Delivering 5.1 Audio for Clients and Broadcast in Premiere Pro

If You've Ever Exported a 5.1 Mix and Heard Silence...

...you're not crazy. You're just dealing with one of the most common pitfalls in surround delivery: improper downmixing.

You get your project sounding great in Premiere, but then you send it off to Frame.io or YouTube and the VO disappears. Or your broadcast deliverable fails spec because you only output stereo.

Let's fix that.

TL;DR: Here's how to export your 5.1 audio mix correctly—including metadata, proper downmixing, channel mapping, and platform-specific presets for reliable playback and broadcast acceptance.

Exporting for Client Review (YouTube, Vimeo, Frame.io)

These platforms are usually stereo by default, so your export needs to handle 5.1 metadata and downmixing correctly.

Step-by-Step: H.264 Client Review Export

1. 

   Go to File > Export > Media

2. Set Format to H.264

3. Choose a base preset (e.g. YouTube 1080p or Vimeo 1080p HD)

4. In the Audio tab:

   • Set Audio Codec to AAC

   • Change Channels to 5.1

5. Save as a custom preset for reuse

This exports all 6 channels (L, R, C, LFE, LS, RS), and Premiere includes fold-down metadata, so laptops, iPads, or phones still hear a proper stereo version.

Bonus: Frame.io Integration

If you're using the Frame.io panel inside Premiere:

1. Go to Upload Active Sequence

2. Under Format, choose Select Preset File

3. Navigate to your saved 5.1 preset (Documents > Adobe > Adobe Media Encoder > Presets)

4. Select it, click Open

5. From now on, it appears under Recently Used in the dropdown

Now you're uploading a proper 5.1 file with embedded stereo compatibility—no more calls saying "I can't hear the VO."

How to Verify Playback

After export:

• Check in QuickTime Player (Apple's app folds down to stereo)

• Use MediaInfo to inspect channel layout

• If you're unsure, bring the file back into Premiere and inspect the waveform & channel mapping

Exporting for Broadcast Delivery

This is where channel counts and discrete outputs really matter. You can't afford to get this wrong.

Step-by-Step: Broadcast-Ready Export

1. Go to File > Export > Media

2. Set Format to MXF OP1a

3. Choose a preset like XDCAMHD 50 NTSC 60i or HD CAM 50

4. In the Audio tab:

   • Set Channels to 8

   • Ensure it's PCM with 24-bit at 48kHz

This will export an MXF file with:

• Channels 1–6: Full surround mix (L, R, C, LFE, LS, RS)

• Channels 7–8: Stereo mixdown

Why 8 Channels?

Most broadcasters require it. Even if you're not using all 8 fully, this keeps your deliverables compliant with industry specs.

Pro Tip: Mixing from Audio Post? Or In-House?

Whether you mix yourself or get a Pro Tools session back:

• Drop the returned interleaved 5.1 WAV file on tracks 1–2 (which should be set to 5.1)

• Use Modify > Audio Channels and set the preset to 5.1

• Premiere will auto-map the channels: L, R, C, LFE, LS, RS in Track 1, and stereo downmix in Track 2

Now you're ready to deliver both surround and stereo in one clean output.

Common Pitfalls to Avoid

• ❌ Exporting stereo when your timeline is 5.1 (result: missing VO)

• ❌ Forgetting to set metadata = no fold-down

• ❌ Wrong format for broadcast = rejected files

• ❌ Using clip mixer instead of track mixer = improper levels and panning

Key Takeaway: A great 5.1 mix isn't finished until it's exported correctly. Handle metadata, channel mapping, and format presets with care, and your mix will sound great—on everything from a phone to a Dolby suite.

CTA: Subscribe to Pro Edit Tips  on YouTube to get the upcoming 5.1 in Audition tutorial—covering stems, broadcaster specs, and mastering for delivery.