Bit Depth

[Stuart Waller]

Talking this week with an AFTRS student that is here on All Saints. We talking about Sample Rates etc. It got me thinking.

What are people doing out there? 48k/ 16bit or 48k /24bit. I've personally been using 24bit for a while now, on a few shows.

Anyone?

[Jeffrey S. Wexler]

Always 24 bit for just about ever job and everyone here in the US. In the early days, some people were using 16 bit (which obviously had become a DAT standard) because none of the other devices/hardware or software down the chainj could handle 24 bit. It actually took some time for ProTools to support 24 bit.

- Jeff Wexler

[Rainier Davenport]

When I bought my 744 back in 2006, I set it to 48K / 24 bit and have not changed it since.

[Paul Finlay]

Always 24 bit for me. Why would you do otherwise.

PaulF

[Peter Grace]

Hi guys. I've just joined. Rob Stalder mailed me about this marvelous site in early May. I tried to join back then but the sign-in page rejected me. A dialogue box said my personal details weren't interesting enough. Anyway always 24bit because you can radically clean up ugly B/Gs from quiet dialogue without dragging up digital noise. Bronwyn Murphy (are you out there Bron?) worked wonders with Nic Cage and Rose Byrne's quiet and emotional dialogue recorded on Melbourne Casino's a roof top for Knowing. For the cut we got the wonderful Park Road Post Wellington (who were handling the RED data and doing the D I and film record) to do an initial clean-up of the scene. The results were extraordinary. All noisy b/gs gone. Problem was, the actors now sounded like billy goats pissing in a tin.

After picture lock-off, Bronwyn had a more leisurely crack at it, returning the voices to their natural pitch and timbre whilst keeping an acceptable distance between foreground and background. She told me she had this special machine (plug-in?) but wouldn't tell me what it was except it wasn't Cedar. If I had recorded at 16 bits neither Park Road nor Bronwyn at Huzzar Sound could have saved the sync. Unfortunately there are a few old Media Composers kicking around that still require digitising at 16 bit

[Stuart Waller]

Welcome Peter,

Very interesting from a Post POV.

Thanks for that.

Stu