Anyone do post at 96Khz
Dunebuggy
Thread Starter
#1
4th May 2007
Old 4th May 2007
  #1
Gear nut
 

Thread Starter
Anyone do post at 96Khz

Personnaly i dont , and dont even think about it but i was wondering

Eric
#2
4th May 2007
Old 4th May 2007
  #2
Lives for gear
 
santacore's Avatar
 

Nope, all of the projects I work on are still at 48k. I might use 96k for field recording, but that would be about the only place.
#3
4th May 2007
Old 4th May 2007
  #3
Gear Head
 

The foley session spec's we recieve are almost always 48 kHz. The exceptions are a handful of game audio or multimedia projects that specify 44.1 kHz.

Likewise, all the features, docs, and Imax films with which I've been involved have been 48 kHz.

I've used higher sample reates to great effect for a few special applications where I planned on pitch-shifting the sounds way down. In particular, I recorded some "monster vocals" at 192 kHz using a Neumann TLM 170, and just added them directly into the 48 kHz Protools session. Needless to say, that session was loads of fun.
#4
4th May 2007
Old 4th May 2007
  #4
I do everything at 24/96 and then use Barbabatch to scale the audio however is required. I think the plugs and the multiple conversions that are done because I use so much outboard gear is greatly helped at the higher sample rate (and with the outstanding conversion I have).
#5
4th May 2007
Old 4th May 2007
  #5
Lives for experience
 
minister's Avatar
Quote:
Originally Posted by kittonian View Post
I do everything at 24/96 and then use Barbabatch to scale the audio however is required. I think the plugs and the multiple conversions that are done because I use so much outboard gear is greatly helped at the higher sample rate (and with the outstanding conversion I have).
the question was about audio post, joshua. are you doing audio post?

nobody i know does post at 96.

however, music for films, esp. orchestral, is recorded at 96.
#6
4th May 2007
Old 4th May 2007
  #6
Gear Head
 

We record field effects at 24/96. But that's it.
#7
5th May 2007
Old 5th May 2007
  #7
Our internal standard in post for film & TV is 24/48.

Soundeffects are recorded also that way, exept specials then we go for 96k.

I have a bigger problem with the 24 to 16 bit truncating when going from a film project to it's TV master on digi-beta...

Kind regards from Belgium

Pedro
#8
5th May 2007
Old 5th May 2007
  #8
Lives for gear
 
numrologst's Avatar
Quote:
Originally Posted by Pedro_vde View Post
Our internal standard in post for film & TV is 24/48.

Soundeffects are recorded also that way, exept specials then we go for 96k.

I have a bigger problem with the 24 to 16 bit truncating when going from a film project to it's TV master on digi-beta...

Kind regards from Belgium

Pedro
Record the TV master at 16/48 instead of dithering... Much much better in my opinion
#9
5th May 2007
Old 5th May 2007
  #9
Same Here... Everything is either 48 Khz/16 bit or 48KHz/ 24 bit.



cheers
geo
#10
7th May 2007
Old 7th May 2007
  #10
Gear maniac
 
audiogeek1's Avatar
 

Music is usually done at 96k. I have done a few foley sessions at 96k just to see. They fit in the mix really well. We run our Euphonix consoles at 96k with good results. The EQ sounds much more open. And the SRC on it is pretty much unnoticable. But the projects are generally 24/48.

Mike
#11
7th May 2007
Old 7th May 2007
  #11
Lives for gear
 
Jazzpunk's Avatar
 

Nope.
#12
7th May 2007
Old 7th May 2007
  #12
Gear addict
 

This is interesting.
For my current project I recorded some slimy leather foleys (eggs, fruits, leather) for an alien creature animation at 192 KHZ to reopen them without conversion in my 16 Bit 48 KHZ mastersession.

Boy this sounded so different from just pitching 48 KHZ material down.
But I also had problems with aliasing frequencies when playing back the high samplerate material at 48 KHZ. Anyone aware of this problem. It was on a
protools HD system.

For the future I will always record with high samplerates when I already know that I want to pitch the material down. Shure the best thing for these pitch Efx would be a stereo nagra, but at the moment I can not aford one.

But still my mastersession is 16 Bit 48 Khz.
#13
7th May 2007
Old 7th May 2007
  #13
Lives for gear
 

16/48 or 24/48 here, often depending on what the majority of the original source material was at, and how clean the whole sound track is likely to end up being. (ie DV-doc = dirty, music sessions = pretty clean etc.)

Philip Perkins
#14
7th May 2007
Old 7th May 2007
  #14
Lives for gear
 
Berolzheimer's Avatar
 

Quote:
Originally Posted by tilman View Post
This is interesting.
For my current project I recorded some slimy leather foleys (eggs, fruits, leather) for an alien creature animation at 192 KHZ to reopen them without conversion in my 16 Bit 48 KHZ mastersession.

Boy this sounded so different from just pitching 48 KHZ material down.
But I also had problems with aliasing frequencies when playing back the high samplerate material at 48 KHZ. Anyone aware of this problem. It was on a
protools HD system.

For the future I will always record with high samplerates when I already know that I want to pitch the material down. Shure the best thing for these pitch Efx would be a stereo nagra, but at the moment I can not aford one.

But still my mastersession is 16 Bit 48 Khz.
The "aliasing" you heard might well have ben a high frequency noise in the recording that you didn't notice 'til it was shifted down. Happens all the time, shift some foley down & you realize that there's a 17k or so tone from the video monitor. Just notch it out with MDW or some other very narrow EQ.

Most of the FX & mixing work I do is at 48/24, but we do record things at 192/24 whenever possible, you never know what might be useful downshifted.

Now if I can just get my Foley guys to make use of the headroom at 24 bit & not clip everything all to hell...This is not a waveform I enjoy listening to:
Attached Thumbnails
Anyone do post at 96Khz-clippage.jpg  
#15
9th May 2007
Old 9th May 2007
  #15
Gear maniac
 

I'm doing game work, so not sure if the opinion is valuable here or not...

I generally do everything at 24/96 then drop it down for implementation. When I'm compositing stuff, I want the extra headroom from 24bit, and I preserve the original 24/96 assets in case they're needed for a port to a future console/remake/whatever. I do make a point to keep things mathematically symmetrical though... so if I'm doing something to be delivered in 44.1, I'll work in 88.2, stash the original then downsample to 44.1.

When I worked in post, everything was 16/48, that was basically law. But we were doing spots, so not exactly the most demanding work...
#16
25th May 2007
Old 25th May 2007
  #16
Gear interested
 
larold@socal.rr.'s Avatar
 

Shows.

I mix the music for:

"24" 48K 24 bit
"Medium" & "Shark" 48K 24 bit
"Smallville" 48K 16 Bit
"Ghost Whisperer" 48K 16 Bit.

If I send any higher bit rate, the upload is to big and takes too long, and people get REALLY mad.
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