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Old April 28th, 2008, 10:28 PM   #31
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i use to think about it too much and it hurt my head. 16bit audio dedicated recorders generally will sound way better than any camera, thats because they are built for that purpose. Cameras are generally optimized for image making and sound takes a back seat, just like on set, but thats a different topic. If sound is important to you, capture it at the highest res you can get. I'm currently mixing a short, and im amazed with how much room you have to play with 24bit files. and the noise level is so low, i rarely have to apply any noise reduction filters.
I can also stack a few filters if needed and the margin of error is eliminated.
Dont listen to the crazy directors who cry in post about the audio and not giving us the chance to optimize it to begin with.

But like the pros here told me, a 16bit recorder in the right hand will sound better than with an amatuer with a 24bit recorder. Email me if you need a 24bit audio file to play with. good luck
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Old April 29th, 2008, 12:17 AM   #32
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Originally Posted by Roshdi Alkadri View Post
But like the pros here told me, a 16bit recorder in the right hand will sound better than with an amatuer with a 24bit recorder.
True. However, a 24-bit recorder in the hands of an amateur who only needs to know one thing (leave lots of headroom) will sound better than a 16-bit recorder in the hands of an amateur who "tries" to manage the levels.
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Old April 29th, 2008, 06:52 PM   #33
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true, yes of course. Point is tools are good in the hands of the right person.
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Old May 22nd, 2008, 10:44 AM   #34
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Originally Posted by Thomas Johansson View Post
A.J says it beautifully, and probably correct!

For the most part, audio will seem to sound better when you're also focusing on what you see (a well known fact amongst top-plugin developers) so you can get away with a lot more than if you were focusing on audio only.
Thankfully, this works both ways.

That's why Im trying to improve my audio skills!
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Old May 22nd, 2008, 11:50 AM   #35
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Originally Posted by Douglas Spotted Eagle View Post
Sony Vegas has supported 24/192 since the first version (nearly 8 years), even their cheapo Movie Studio supports it.
Adobe Soundbooth supports it.
I believe Canopus Edius supports it.

In other words, most NLE's support at least 24/96. But you're fine recording at 24/48, which I believe is supported by everyone.
Sadly, Adobe Premiere Pro CS3 only supports a maximum of 16/96.
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Old May 22nd, 2008, 07:36 PM   #36
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Avid supports 24-bit audio.
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Old May 22nd, 2008, 07:54 PM   #37
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Sadly, Adobe Premiere Pro CS3 only supports a maximum of 16/96.
No way! Really? That is a huge oversight - it's mind-boggling, how can it be used for serious work? "Sweeten" outside Premiere? Is 24bit automatically truncated to 16?
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Old May 22nd, 2008, 08:42 PM   #38
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No way! Really? That is a huge oversight - it's mind-boggling, how can it be used for serious work? "Sweeten" outside Premiere?
Yeah, it's a real pain.

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Is 24bit automatically truncated to 16?
Not even; for Windows WAV files it just refuses to load them.
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Old May 23rd, 2008, 05:33 AM   #39
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Daniel are you sure about that? I had no problems handing off my 24/48 broadcast wav files to a production company that used Premiere as their NLE tool. Apparently it doesn't work as smoothly as FCP, but they were able to break apart the poly files I gave them and swap out my tracks with the audio we ran into the camera.

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Old May 23rd, 2008, 10:11 AM   #40
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Daniel are you sure about that?
I was, but I just tried it and it works fine. The reason for my mistaken impression was probably some other problem with the WAV file (open file lock?) and not because it was 24-bit. Thank goodness I can edit in native 24-bit now. Sorry for the noise, everyone. :)
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Old May 23rd, 2008, 10:15 AM   #41
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Another DVI success story!

Thanks for your persistence, Wayne.

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