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Recording 96/24, post 48/16
Old 20th November 2009
  #1
Gear Maniac
 
🎧 10 years
Recording 96/24, post 48/16

Hi,

Would I get in trouble (sync/pitch) recording production sound at 96 khz/24 and then working in Protools at 48/16 bits? That makes any sense at all?
Old 20th November 2009
  #2
Lives for gear
 
JonesH's Avatar
 
4 Reviews written
🎧 10 years
Why record in 96k if you're just going to SRC it to 48 directly? You have to sample rate convert, you can't just play 96k at 48k, that's not going to work.
Old 20th November 2009 | Show parent
  #3
Gear Maniac
 
josh broome's Avatar
 
🎧 10 years
In addition to that, your recordings will take up more disc space.
Old 20th November 2009 | Show parent
  #4
Lives for gear
 
🎧 15 years
I would not advise doing film/video production sound at 96k. The standard for all current digital video audio is 48k, and that is what the whole post chain is expecting--your 96k files will cause a workaround to have to happen, and eat up more storage space to boot.
The sonic benefits of doing location sound at 96k I think are very debatable--usually there is enough BG noise to negate any increase in the audibility of detail. 24 bits is a good idea for both production and post--the increased headroom is helpful on location and running the DAW at 24 bits allows plugins higher resolution.

Philip Perkins
Old 20th November 2009 | Show parent
  #5
ruy
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ruy's Avatar
 
🎧 10 years
unless you are recording in a pristine environment, i would recommend you keep it @ 48/24. there are already enough problems with production sound workflow, ad/da conversions, pull downs, etc...
Old 20th November 2009 | Show parent
  #6
Lives for gear
 
🎧 10 years
...to play Devil's advocate, one of the valid reasons to roll 96 is if there was the desire to support high resolution deliverables, in the form of Blu-Ray, for example, where the project would utilize 24/96 via Dolby TrueHD or DTS Master Audio encoding.

The decision to do so, would normally come from post or others, and not up to the production mixer.

It would also be sort of silly to record simple dialogue at 24/96, unless it was more convenient for the post process. Music performances might benefit from 24/96 or the marketability of having a vertical 24/96 production, but theatrical releases would probably still be 24/48 for production, even if the deliverables were going to be 24/96.

Are you going to be handling post too, is this a smaller indy feature? There should be no issue with SRC 24/96 to 24/48 if you are doing it yourself. Keep it BWF and no sync issues, in theory, should arise. Also, why 16/48? PT post should be 24/48 at the least.
Old 20th November 2009 | Show parent
  #7
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danijel's Avatar
 
🎧 10 years
By all means DO IT! .....if you're recording a documentary about Whitney Houston performing a capella at the Vienna Musikverein
Old 21st November 2009 | Show parent
  #8
Gear Maniac
 
🎧 10 years
Quote:
Originally Posted by danijel ➑️
By all means DO IT! .....if you're recording a documentary about Whitney Houston performing a capella at the Vienna Musikverein
Ok, who told you? We'll have to change the capella now...

Thanks for all the answers. Sorry for the ignorance. It's a small indy feature. I thought in the 24 bits as way of increasing headroom... the 96 khz just came along, sorry for that


The 48 16 for Protools was something for spare my poor native system... Also is the the definition for standard dolby srd (once we won't go higher than that at the end...) The plug in argument is already enough for me to change this bad habit then, 48 24 it is from now on.

Still if we recorded that in 96 khz and just imported the audio for one session created as 48 would we get in sync/pitch issues for sure?
Old 21st November 2009 | Show parent
  #9
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by cinetj ➑️
Ok, who told you? We'll have to change the capella now...

Thanks for all the answers. Sorry for the ignorance. It's a small indy feature. I thought in the 24 bits as way of increasing headroom... the 96 khz just came along, sorry for that


The 48 16 for Protools was something for spare my poor native system... Also is the the definition for standard dolby srd (once we won't go higher than that at the end...) The plug in argument is already enough for me to change this bad habit then, 48 24 it is from now on.

Still if we recorded that in 96 khz and just imported the audio for one session created as 48 would we get in sync/pitch issues for sure?
No, if you properlt SRC the audio down to 48k for a 48k session.. If you run your session at 96k there would be no sync issues either.

Philip Perkins
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