Produce at 96 kHz for a higher quality 48 k output?

[subhuffer]

Hello,

I am working on creating tracks for sync purposes (video, and streaming) and I am also would like to work on film composition in the near future (also working in Dolby Atmos)

My question is working at 96khz something done widely in the industry or should I just stick with working with 32 floating point and 48khz

I have Pro Tools Ultimate running on an RME baby face pro. I have Adam a7x with Mogami cables in a decent enough treated space. I also own a pair of HD800s.

I ask her in post since I am wondering what resolution are you all working in and what type of files do you receive stuff in

thanks

[BScout]

Post is still standardised on 24bit fixed, 48kHz.

If you want to work at higher or 32 bit floating, you will be asked to convert before delivery to 24 bit fixed, 48khz. Which isn't a big deal but will be asked.

[subhuffer]

Originally Posted by BScout

Post is still standardised on 24bit fixed, 48kHz.

If you want to work at higher or 32 bit floating, you will be asked to convert before delivery to 24 bit fixed, 48khz. Which isn't a big deal but will be asked.

K thanks for your response. In that case I will just work on 24bit then. When it comes to interfaces, I don't really record and I work mostly with sample libraries so the RME is working great for me.

Outside of HDX TDM interfaces (which I am not interested in), would I benefit at all from getting an HD Native or HD Omni interface?

Cheers

[KingTor]

A post supervisor once told me the soundtrack is supposed to be delivered at 96k 24bit, but I have never seen that on a spec sheet.

sent from a stupid phone using Tapatalk

[subhuffer]

Originally Posted by KingTor

A post supervisor once told me the soundtrack is supposed to be delivered at 96k 24bit, but I have never seen that on a spec sheet.

sent from a stupid phone using Tapatalk

yeah I just emailed a guy who does the mixes for Pele movies and sound Star Wars stuff and he said just to work on 24/48, all the top pros do

[simon.a.billington]

If you manipulate your audio like a sound designer and change its pitch or and up stretching it, 96k can be beneficial. It contains more data for the algorithms to work with, which I feel, ends up affecting the quality of the output.

If you don’t manipulate your tracks then the only real advantage is pushing that Nyquist low pass well above the range of our hearing, so it won’t affect the high end. The jury is still out on whether this is a big deal or not, however.

[Vedat]

Only times I was asked to record 96k were for character recordings for monsters etc.

[subhuffer]

Originally Posted by Vedat

Only times I was asked to record 96k were for character recordings for monsters etc.

sounds like a nice project, but generally, outside of special requests, you work in 24/48?

[Ryan Young]

Originally Posted by subhuffer

sounds like a nice project, but generally, outside of special requests, you work in 24/48?

I can also state that everything we do at WB is 24/48 unless we're recording creature voices, then we'll do 96k and very rarely 192k. For my independent post-house, it's 100% 24/48.

[subhuffer]

Originally Posted by Ryan Young

I can also state that everything we do at WB is 24/48 unless we're recording creature voices, then we'll do 96k and very rarely 192k. For my independent post-house, it's 100% 24/48.

Thank you for your input, I was working on 24/44 but now that I am writing/composing for sync music, wanted to double check that everything was still on 24/48 for the most part

cheers