Working with 32bit Float Files
 

Hi all

This may have been covered, but not finding it in the DUC.

I am running PT HD. Still on Rosetta at this point, I am as many are, waiting on PA to catch up.

The editor that is working on a series that I am currently mixing, is wanting to send me a 32bit float AAF. Can I open it, and does it maintain the integrity of the original files?

Thank you in advance.


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Re: Working with 32bit Float Files
 

Here’s a good thread on this topic.

https://duc.avid.com/showthread.php?t=407072&page=2

Why is the editor insisting on this? Are they working with 32bit float production audio? If they’re not then it serves no purpose to send you a 32bit float AAF.

Re: Working with 32bit Float Files
 

Yes they are working with the original 32bit float audio. I suspect the problem is that, because they have the set it and forget it mindset when shooting, they forget that if the my have opposing microphones, if the input gains are up to high (because in theory it can’t clip) both tracks are receiving nearly identical volume from the people speaking. Make sense?


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Re: Working with 32bit Float Files
 

Totally makes sense. I recently had a production ask me if this was possible to record like this.

As long as the files maintain their 32bit floating originality then this theory will hold true downstream. But that's relying on a lot of things. Most importantly, you'd have to change your mix session into a 32bit floating session.

However. If your editor is working in Premiere, I believe currently, Premiere cannot export a 32bit floating AAF.

Re: Working with 32bit Float Files
 

Truth! To many variables at this point to really bother using 32 bit downstream in the process. Avid does not (really) support it yet and I believe you are right, Premiere is in the same boat.

At some point it all gets converted and the likelihood of something coming off the rails is high.

Another early life technological boondoggle. [emoji30]


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Re: Working with 32bit Float Files
 

To workaround the picture edit system not being able to export a 32-bit float AAF you could just assembly the location WAVs as per the AAF/XML that is supplied from editorial using EdiLoad or the PT field recorder workflow functions. The EdiLoad Assembly window does simplify this process, and I'd recommend getting an AAF from Media Composer or a XML from Premiere Pro.

To see how this works check out the video in the following blog post:
https://www.soundsinsync.com/blog/ed...vs-for-any-daw

Re: Working with 32bit Float Files
 

32bit float has advantages in ONLY two scenarios:

1. Your converters record 32bit float
2. You use virtual instruments and want to freeze/commit

Re: Working with 32bit Float Files
 

I think you might be describing 32-bit integer, like the converters included in the Avid Carbon? They extend the ‘resolution’ deeper into the noise floor. Most people are a bit sceptical of it. Bigger numbers make for great marketing opportunities.

32-bit floating point deals with the business end at 0dBFS. It’s about the same 24 bit precision as 24 bit, but with an additional 8 bit exponent that expands the dynamic range. You can push a 16 or 24 bit audio file over 0dBFS and render it as 32-bit floating point and not lose a single bit of audio in the process. It gets used in a bunch of production sound recorders by Sound Devices and Zoom and they allow you to capture even the most unexpectedly dynamic performances or sound effects without the fear of clipping of levels when over 0dBFS.


If a 32-bit floating point file has audio above 0dBFS, it will clip as soon as you export it as 16 or 24 bit.

Re: Working with 32bit Float Files
 

It is my understanding (and I may be wrong) that Carbon outputs 32-float. Carbon AD performance is not so spectacular. It is only 126dB, which is not bad, but the point of 32bit converter is kind of DigiDesign 192 soft clip with steroids, as in not clipping.

24-bit has theoretical maximum of 144.5dB so otherwise advertising 32-bit makes no sense. There is still 18.5dB headroom without.

With that said, 20bit has theoretical maximum of 120dB and for that reason 24-bit fixed makes sense. 32-bit fixed point? No. Give me a converter with more than 192.5dB dynamics and I believe.

Re: Working with 32bit Float Files
 

To get back to the OP yes you will need to do an assemble with the original production sound files.