Another rook question here: I record audio in 24/96. How do I make sure to maximize the quality and keep the 24/96 when I import audio into Premiere Pro for editing, and also when I export (assuming I'm exporting to a high data rate 444 codec)?
Do you have a serious need to edit (or record) at that audio sample rate?
If so..reconform your audio in a DAW such as Audition or ProTools.
Premiere conforms to an edit standard.
BTW: What codec is your camera shooting? I assume its a GH2 and thats not likely to be 444 ..but it may be high datat rate if its hacked of course.
Project is feature film, so I'm recording 24/96 to maximize quality.
So how does reconforming work? Do I do that in Audition after I've edited the project in Premiere Pro, and then send the Audition reconformed audio back into Premire Pro to replace the audio that Premiere had conformed to an edit standard.
(Yeah, I'm on a hacked GH2, which uses AVCHD codec. The particular hack setting I use has a bitrate averaging 100Mbps (regular GH2 is usually ~24Mbps max). I only mentioned the exporting with 444 codec as someone with more experience than myself told me that once project is finished to export to a high data rate 444 codec, and then create a version for vimeo, BluRay etc....so I figured I'd throw that bit of info in for anyone answering my question as I thought it may/may not affect the audio quality issue)... I believe his recommendation was based on his experience with how different systems tend to do their exports, when quality is your primary goal.)
Premiere will conform the audio for the edit ( it takes a bit of time if there are a lot of them but it should only do it once - occasionally causes a frustrating reconform issue though).
Once your edit is locked down..use the same source files in a DAW that can use 24/96 natively.
If its a Feature Film...you would be wanting to do your audio engineering and mix in a DAW instead of Premiere anyway.
Exporting 4:2:0 or 4:2:2 to 4:4:0 is of dubious no IQ value IMHO. (Others will comment on this I am sure).
The source higher bit rate is of value to you though.
@shooternz I kinda had a feeling I would be in Audition for audio eng and mix.
So once I lock edit in Prem Pro, and once I do audio in Audition, do I marry/connect them back together in Prem Pro, or am I better using something like Quicktime Pro? (in other words, if I try to marry/connect them back in Prem Pro, is it going to do another conform for edit...and take away my 24/96 quality and drop to 16/48 or something like that?)
@shooternz That's a solid answer. As this is a very "indie" feature film production, we really have no idea what the commercial demand will be until it's completed and we try to get it distributed. So I'm trying to create a workflow for the project (both video and audio) that allows me to shoot the film, edit the film (both video and audio), and then take that finished product to a variety of different final products for delivery. (DCP, BluRay, web vdeo). How would you recommend I proceed with editing it all together so I can then have flexibility in how I deliver final product?
All shooting and post production should be aimed at maintaining quality via appropriate workflows.
eg. minimising media generations
Obviously indie film wont have a huge bucket of $$$ so you also have to optimise how you spend it.
Create a workflow that puts the best image and story on screen first. Best spend of the $$$.
If you succeed in that..additional $$$ may come forward for post production costs.
YOu need to plan your post production if you want flexibilty and I would suggest ..digital intermediates will play a part in that.
Meantime...post produce simply because you can always return to your source media down the track when the $$$ flow in. Maintaining your "source media" always maximises your flexibility
@shooternz That's what I've been thinking as well. It seems you've got a lot more experience than myself in this, so maybe you can dumb it down for me a bit. Here's a quick summation of how we're proceeding. Shooting on hacked high bit rate GH2 (100Mbps) and separate sound mics/recorders in 24/96 for audio. All source media will be kept on multiple hard drives for backup. Then edit in Prem. Pro 32 bit (or After Effects 32 bit) with audio in Audition (24/96). My question I guess, is assuming my summation sounds like a decent high quality workflow, how do I then create my finished product in this editing envrionment...i.e. how do I marry that high quality video (from Prem Pro/After Effects) with high quality audio (from Audition)? (BTW, much appreciation for you help, as I'm now trying to button up all technical workflow aspects prior to moving into production. thank you - Matt)
I guess that what you do need to know is that Premiere can actually Export Audio at 24/96.
It can also do that with various "movie exports" as well. (Video/ audio streams)
Check them out in Adobe Media Encoder settings.
What you need to decide is if these "exports " fit your workflow plan as regards Mastering ..then distribution / display.
You should be running tests on this anyway - especially seeing you are running dble system sound system and have a major synching exercise ahead of you as well
If you mix a master 24/96 audio outside of Premiere...you should be able to use that in a sequence for mastering from but I think it will conform for previewing.
If you want to really know what i think. ....24/96 is over kill and you wont here the difference considering your intentions ( but does not hurt to have up your sleeve and the audio guys may be grateful if they have a heapof work to do on it)
Are your mics up to it..considering you are shooting on a DSLR???
@shooternz @jim Simon Yeah, I hear a lot of people say 24/96 is overkill, and it probably is. My thought is that memory is so cheap, so I'd rather record my audio at 24/96, store it at 24/96, and edit it at 24/96. If it can't hurt, it's not costing us any more money out of the budget, so why not.
@shooternz Re: test, test, test...I'm in full agreement and that's where we're at now. Establishing workflow, testing imaging, sound, etc. We created a trailer for this project not only as a technical test (visuals, sound), but also from a thematic/storytelling/mood perspective.
Sound syncing has never been a problem, using clapper board, takes 10-20 seconds in editor per sync. I hear some have issues of drift...I've never experienced.
Great question on mics. We took a good amount of time to get our sound good in the field (testing mics, recorders, etc.), so I'm very happy with quality of sound recorded when in field/on set.
Will also review Media Encoder capacities.
Thanks for your help.