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How do I keep 24/96 audio quality in CS6 Premiere Pro?

Dec 30, 2012 12:51 AM

Tags: #24/96

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)?

  • Currently Being Moderated
    Dec 30, 2012 11:57 AM   in reply to matt_gh2

    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.

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    Dec 30, 2012 12:59 PM   in reply to matt_gh2

    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 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.

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    Dec 30, 2012 1:55 PM   in reply to matt_gh2

    The answer to that will depend on how you intend to master your film and  how you are going to deliver your film as well as the audio part of the equation.  eg Dolby , Surround etc...

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    Dec 30, 2012 2:17 PM   in reply to matt_gh2

    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 intermediates will play a part in that.

  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

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    Dec 30, 2012 4:17 PM   in reply to matt_gh2

    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 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???

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    Dec 30, 2012 6:52 PM   in reply to shooternz

    i think.  ....24/96 is over kill and you wont here the difference considering your intentions



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    Dec 30, 2012 8:06 PM   in reply to matt_gh2

    Cool ...Good luck Matt


    Dont forget to test what happens when you edit 24/96 audio  in Premiere.


    In case it may work out it is  best to resample  before synch up.

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