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Which external audio format would you choose ??
Hey
I have borrowed a quite nifty external audio recorder, and Olympus LS-10. Quality seems great actually. I plan to use it with my Panasonic G2 in AVCHD mode. That will be transfered to Prores 422 LT. The idea was to buy plural eyes to sync the Olympus audio and use that instead of the very cheasy onboard audio.
BUT what format to choose. My idea was 48 kHz, 24 bit PCM, the other formats are MP3 and WMA. what would you choose for that ??
Best wishes
Jakob
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6 Replies
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Native in FCP is 48 kHz, 16 bit PCM.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
http://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Hey
This forum ROCKS, thanks a lot to posters like you who helps someone like me :0).
I will change the setting to 16 bit then, guess there is no need to make higher then.
Best wishes
Jakob
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Agreed 24 bit works great as well.
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For the records / archive:
24 bits gives you a dynamic range to record a needle drop as well as a jet plane take off at a very close distance,
WITHOUT CHANGING THE RECORDING LEVELS.
(assuming you have a mic that is capable of it as well)not many people acutally would do this.
24 bits is for situations that require unattended recording,
(like recording huge amount of channels by one person), or to make sure incidental peaks aren’t overmodulated (smalling with doors etc…)This requires of course to set the recording level way lower than normal.
Now this works all swell, and with todays storage the increased size / bandwith is not an issue anymore, but to have any improvement over 16 bits, you indeed have to record at way lower levels than normal.
This means a lot more work in post, as most of the stuff needs a huge gain, and for most output you have to do a downsample to 16 bit anyways.
In other words, for most common jobs 24 bits is overkill, but can be handy if you follow the rules. Again, if you record 24 bits, record 20 dB lower than you would do normally.
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
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