Audio bit depth settings?

Hi Everyone,
I have used AME for video, but now I have audio files that have to go through it. I am taking a audio format and making a preset for it to become a .mp3. I can see that I can only set the kbps. The kHz sampling rate of 44.1 is fine, but I need to set bit depth to either 16 or 24. I have looked everywhere and can't find a setting for bit depth for just audio. Am I missing a setting?
I get the feeling that AME was made for video, but not for pure audio...is that the case? When I have used it for video I had a ton of options, but for video very few.
Thanks so much!
Laurie

Your (constructive) comments are accepted here but if you are trying to get Apple's ear about feature requests, use the feedback link http://www.apple.com/feedback/itunes.html
One comment, the Import options are ALSO for converting between formats within iTunes so, while you cannot convert TO a 24 bit WAV, you can convert FROM a song encoded in 24 bit to a more iPod friendly format.

Similar Messages

  • Maximum audio sample rate and bit depth question

    Anyone worked out what the maximum sample rates and bit depths AppleTV can output are?
    I'm digitising some old LPs and while I suspect I can get away with 48kHz sample rate and 16 bit depth, I'm not sure about 96kHz sample rate or 24bit resolution.
    If I import recordings as AIFFs or WAVs to iTunes it shows the recording parameters in iTunes, but my old Yamaha processor which accepts PCM doesn't show the source data values, though I know it can handle 96kHz 24bit from DVD audio.
    It takes no more time recording at any available sample rates or bit depths, so I might as well maximise an album's recording quality for archiving to DVD/posterity as I only want to do each LP once!
    If AppleTV downsamples however there wouldn't be much point streaming higher rates.
    I wonder how many people out there stream uncompressed audio to AppleTV? With external drives which will hold several hundred uncompressed CD albums is there any good reason not to these days when you are playing back via your hi-fi? (I confess most of my music is in MP3 format just because i haven't got round to ripping again uncompressed for AppleTV).
    No doubt there'll be a deluge of comments saying that recording LPs at high quality settings is a waste of time, but some of us still prefer the sound of vinyl over CD...
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    I guess the answer to this question relies on someone having an external digital amp/decoder/processor that can display the source sample rate and bit depth during playback, together with some suitable 'demo' files.
    AC

  • Choosing bit depth while recording audio

    Hi,
    First, the short version of the question:
    Do you know of any simple audio recording app (ie: not a monster audio suite) which takes low CPU usage, and lets you choose the internal bit depth using for audio sampling (ie: sample at PCM16, at PCM24,...)  ?
    Now, in case you need it, the long version of the question:
    I'm digitizing my huge collection of audio tapes, with my G5 iMac (OSX 10.4). The quality of the recordings is somewhat low, so I don't need a high-end audio card, and I believe the builtin audio card of this G5 is more than adequate for this task (Burr Brown PCM3052 with support for PCM16, PCM24, and AC3 16).
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    although I was looking for something simpler.
    Compared to what you describe, my use of GarageBand sounds "simpler."
    GarageBand is part of iLife, so it is meant to be easy to use, unlike big brother Logic.  Furthermore, I am using it in a very limited way. When recording, I just set up ONE track, which is pretty easy. 
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    The best part is editing the full recording of the entire tape/record, into individual songs, then exporting them to iTunes as 256 kbps AAC (or MP3) files, all within GarageBand.  A few of my records had skips, and I was able to edit them out by overlapping two tracks with the same portion of music, and carefully eliminating the skip at the transition between the two tracks.  Also, because the source is analog, there is noticeable background hiss when the music level is low.  It is particularly noticeable at the end of songs that fade out.  To make the hiss fade out along with the music, I gradually adjusted the master volume level downward to zero starting when the music level became low enough for the hiss to be noticeable.  That made the hiss fade out, which helped "hide" it.

  • Importing audio - sample rate/bit depth

    Hi forum,
    I am working on project at 44.1K, 24 bit. Audio elements are being sent to me to be added. Some have come in incorrectly; at 48K, 16 bit. I can convert easily but didn't think I needed to.
    I thought by selecting the "Convert Audio Sample Rate When Importing" option when creating the project that would all be worked out.
    That is what I've done - and the file seems to be the correct pitch -- yet shows up in the audio window with it's original specs (48/16). Also ... will logic keep it at 16 bit and play all other files at 24 bit?
    I want to be sure about this ... something seems fishy.
    Cheers
    Dee, Ottawa

    Hi,
    I am re posting.
    Regarding the same project: must everything in the arrange window of a project be the same sample rate (and bit depth). My understanding is that there is real- time conversion during playback. That all file types supported by logic - and all virtual instrument samples are converted in real time to conform to the selected bit depth and sample rate of project.
    I ask only as I recieved reference sound files to temporarily place in a mix to see how mix will sit when going to Post. Two audio files are almost a semi tone higher than they are supposed to be (which is odd - so I am pretty sure it was just quickly sung in the wrong key at there end). And one file which was supposed to be timed out is not lining up.
    I can work around this on this project. And I can simply convert in the sample editor and re import to compare.
    But again ... I just want to check my understanding for future reference. The manual indicates differing rates etc should not be a problem. (ie: That Logic allows one to have differing rates and bit depths. Inversely, the M Sitter video implies just the opposite.
    I just want to be sure of this for future reference. Any adive?
    Thanks in advance.
    Cheers
    Dee

  • Creative Audigy 2 NX Bit Depth / Sample Rate Prob

    This is my first post to this form
    Down to business: I recently purchased a Creative Audigy 2 NX sound card. I am using it on my laptop (an HP Pavilion zd 7000, which has plenty of power to support the card.) I installed it according to the instructions on the manual, but I have been having some problems with it. I can't seem to set the bit depth and sample rate settings to their proper values.
    The maximum bit depth available from the drop down menu in "Device Control" -> "PCI/USB" tab is 6 bits and the maximum sample rate is 48kHz. I have tried repairing and reinstalling the drivers several times, but it still wont work. The card is connected to my laptop via USB 2.0.
    I looked around in the forms and found out that at least one other person has had the same problem but no solution was posted. If anyone knows of a way to resolve this issue I would appreciate the input!
    Here are my system specs:
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    Intel Pentium 4 3.06 GHz
    GB Ram
    Windows XP Prof. SP 2
    Thnx.
    -cmsleimanMessage Edited by cmsleiman on -27-2004 09:38 PM

    Well, I am new to high-end sound cards, and I may be misinterpreting the terminology, but the sound card is supposed to be a 24bit/96kHz card.
    I am under the impression that one should be able to set the output quality of the card to 24bits of depth and a 96kHz sample rate, despite the speaker setting that one may be using, to decode good quality audio streams (say an audio cd or the dolby digital audio of a dvd movie.) I can currently achieve this only on 2. speaker systems (or when i set the speaker setting of the card to 2.) Otherwise the maximum bit depth/sample rate I can set the card output to is a sample rate of 48kHz and a bit depth of 6bits.
    Am I mistaken in thinking that if I am playing a good quality audio stream I should be able to raise the output quality of the card to that which it is advertised and claims to have?
    Thnx

  • Turning on Render at Maximum Bit Depth and Maximum Render Quality crashes render every time

    I've tried a few times to render an H264 version of my Red media project with Maximum Bit Depth and Maximum Render Quality.  Premiere crashes every time.  I have GPUs enabled. Are people using these settings with Red media and successfully rendering?

    To answer your specific question did you see the tooltip?
    I beleive it allows for 32-bit processing (16-bit if unchecked). Per the project settings help file at http://helpx.adobe.com/premiere-elements/using/project-settings-presets.html
    Maximum Bit Depth
    Allows Premiere Elements to use up to 32‑bit processing, even if the project uses a lower bit depth. Selecting this option increases precision but decreases performance.
    The help file for export is somewhat less informative about what it actually does but does point out that it is the color bit depth - http://helpx.adobe.com/media-encoder/using/encode-export-video-audio.html
    (Optional) Select Use Maximum Render Quality or Render At Maximum Bit Depth. Note:  Rendering at a higher color bit depth requires more RAM and slows rendering substantially.
    In practice the simplest suggestion is to export twice - once with / once without the setting and compare the time taken and perceived quality.
    Cheers,
    Neale
    Insanity is hereditary, you get it from your children
    If this post or another user's post resolves the original issue, please mark the posts as correct and/or helpful accordingly. This helps other users with similar trouble get answers to their questions quicker. Thanks.

  • 2 Different Bit Depths- Which is the real one?

    I apologize, this gets confusing. Reply and I'll try to clarify the best I can. I'll even submit the example files I've been experimenting with.
    In iTunes, I have been converting WAV files into Apple Lossless .m4a files (ALAC). Recently, some of the ones I have converted have had some inconsistent bit depth values. Since I work in Adobe Audition CS6, I can output various formats: format settings of 32/64-bit (Integer OR Floating Point IEEE), sometimes 24-bit Integer, and sample types of 192.000 kHz or 44.100 kHz and up to 32-bit (float).
    Contradictory? YES. It sounds weird to have format settings of up to 64-bit Integer/Float, but sample types of various sample rates, and almost always 32-bit (float). Is this a possible reason?
    Another problem: iTunes has the ability to convert files to ALAC, among other formats. As it turns out, iTunes has the ability to convert to "32-bit," but only under specific circumstances. Working in Adobe Audition CS6, I have two options for "32-bit:" 32-bit Integer, and 32-bit Floating Point (IEEE). In order for iTunes to be able to maintain that bit depth, I need to select 32-bit INTEGER under Format Settings, and 32-bit under Sample Type. When the file has been exported, I reopen it in Adobe Audition where Bit Depth (in the "Files" box in the top right-hand corner) is listed as "32 (float)" all of a sudden. All I did was export it, I didnt convert it, but despite specifiaclly choosing "Integer," I have 1 32-bit Float audio file. In iTunes, it can open just fine. iTunes calls it "32-bit" as well, and it converts to other formats in iTunes as 32-bit (proabably float) just fine. However, if I export an audio file with 32-bit Floating Point (IEEE) Format Settings from Audition, iTunes fails to convert it to 32-bit, but instead converts it to 16-bit.
    Here's what really odd: lately, every single ALAC file opens in Adobe Audition as having a Bit Depth of "32 (float)."
    So... Where are the flaws? What are the real bit depths? ALAC files with the same sample rate and different bit depths (according to iTunes) still show up as being "32 (float)" in Adobe Audition. Is iTunes converting them all to 32-bits, and it just doesn't know it?
    Thoughts?

    32 bit Floating Point is Audition's default file operating mode. It offers considerable advantages over any fixed bit depth integer format .wav files.
    See your other threads elsewhere on this forum.
    http://forums.adobe.com/thread/1291155?tstart=30

  • Bit Depth Setting?

    I feel like I'm missing something that's very obvious-- sorry if I am. How do I set the bit depth for a new audio file? I want to create 24 bit audio files, but as soon as I create a new file, STP automatically makes it 16bit. The only setting I've seen so far is in Preferences, to export at 24. I've set that, but nowhere does there seem to be any setting for recording or creating audio at 24bits.
    Thanks for any help, and thanks for putting up with what's probably a dumb newbie question!
      Mac OS X (10.4.7)  

    I believe all the current macs support 24 bit. You just need to set it in the project settings as mentioned above (assuming your machine supports it) and you're limited to recording in the project window. Recording in the waveform window seems to always record at 16 regardless of settings.

  • Changing audio recording depth and sample rate in QuickTime Pro?

    Last week, I set up QuickTime Pro 7.4.5 to record audio in 24-bit, 48 KHz format -- only now, I can't remember how I did that. I think that I may have used some other software to change the settings of my Mac Pro's built-in sound card. Does anyone know how to do this?
    I made several such recordings, just last week, as a test, simply using a microphone plugged directly into my Mac Pro, and using QuickTime Pro as the recording application. During playback of such QuickTime audio files, I can hit <command-i> to see that the recordings are indeed 24-bit, 48 KHz. But now, when I repeat the same process, my QuickTime audio recordings are made with 16-bit resolution, at 44.1 KHz. I remember putting the settings back to those values after my recording session of last week. But I can't remember how I adjusted those settings. Does anyone know how to do that?
    Thanks.

    Thanks for your response.
    I will use Apple MIDI Setup, as you suggest.
    I want to change the sample rate to 48 KHz, as the final destination is DVD and I don't want to convert from 44.1 to 48 and thus suffer a possible loss in quality.
    As for bit depth, I want to sample at 24-bit, since I'll be processing the sound afterwards and don't want audible rounding errors during the number "crunching". Afterwards, I'll just drop the eight least significant bits, or perhaps round them up or down (to zero or 256).

  • Maximum Bit Depth /Maximum Render Quality  Questions

    Maximum Bit Depth
    If my project contains high-bit-depth assets generated by high-definition camcorders, I was told to select Maximum Bit Depth because Adobe Premiere Pro uses all the color information in these assets when processing effects or generating preview files. I'm capturing HDV using the Matrox RTX-2 Hardware in Matrox AVI format.
    When I finally export my project using Adobe Media Encoder CS4, will selecting Maximum Bit Depth provide better color resolution once I post to Blu-ray format?
    Maximum Render Quality
    I was told that by using Maximum Render Quality, I maintain sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats as well as maximizes the quality of motion in rendered clips and sequences. It also renders moving assets more sharply. It's my understanding that at maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. I'm running Vista 64 Bit with 8 GIGs of RAM so I'm hoping to take advantage of this feature.
    Will this also help to improve better resolution when I finally export my project using Adobe Media Encoder CS4 and post to Blu-ray format?
    Does it look like I have the specs to handle Maximum Bit Depth and Maximum Render Quality when creating a new HDV project with the support of the Matrox RTX 2 Hardware capturing in Matrox AVI format? See Below Specs.
    System Specs
    Case: Coolmaster-830
    Op System: Vista Ultima 64 Bit
    Edit Suite: Adobe Creative Suite 4 Production Premium Line Upgrade
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    Main Display: Dell 3007 30"
    DVI Monitor: Dell 2408WFP 24"
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    Just some details that i find useful on maximum render depth
    You really need it even with 8bit source files, when using heavy grading/multiple curves/vignettes. If after grading you see banding, go to sequence > sequence settings from the top menu and check "maximum bit depth (ignore the performance popup), then check again your preview (it will change in a second) to see if banding is still present in 32bit mode. If no banding, you must check it when exporting, if  banding is still there, change your grading, then uncheck it to continue with editing.
    Unfortunately Maximum bit depth exporting is extremely time-consuming, but can really SAVE YOUR DAY when facing artifacts after heavy grading, by completely or almost completely eliminating banding and other unwanted color distortions.
    Use it only for either small previews or the really final output.
    Best Regards.

  • Final cut pro millions of colours + bit depth question

    Hello
    I am working in final cut pro 7 and I wanted to know what is the maximum bit depth I can export using the Prores codec? All I see in compression settings for rendering my timeline when wanting to render with Prores 4444 is the option for 'millions of colors' and 'millions of colors +' I was under the impression that millions of colors refered to 8 bit... does the alpha channel mean I can get 10 bit? can the alpha channel hold 2 more bits per channel or something? Or is there no way I can export a 10bit file using the Prores codec within fcp7..? is it all just 8bit. -and when I select 422HQ there is no advanced options for millions of colors..what does this mean? is the only way to get 10bit out of fcp7 to render with the 10bit uncompressed codec? and if so can I render the timeline in prores while im working with it then delete all the renders and change the render codec to 10bit uncompressed, will this now be properly giving me 10bit from the original 4444 12 bit files i imported in the beginning..?
    Any help is much appreciated

    ProRes is 10-bit. Every ProRes codec is 10-bit...LT, 422, HQ.  Not one of them is 8-bit.  Except for ProRes 444...that's 12 bit.

  • Bit depth question

    Hello,
    My audio device can sample up to 24-bit. When I create a 32-bit file in Audition 2.0 and record material using the audio device, Audition tells me the file is 32-bit, and it is indeed twice the size of an equivalent 16-bit file. But is it really a 32-bit file, and could there be any issues with the file? It seems fine in every way.
    Thank you.

    No audio hardware actually samples at greater than 24-bit, because there's absolutely no point - even 24-bit depth isn't actually usable in full; a system like this could in theory digitise a noise floor way lower than can be physically achieved by any mic and preamp system available - you'd need at least liquid nitrogen cooling of all the components before you even started to look at the rest of the problems!
    So why does Audition record in 32-bit? Well, 32-bit Floating Point digitising is a bit different. The actual 24-bit signal is recorded quite faithfully (although not quite in the form of an integer signal) and the other 8 bits are essentially left as zeros during recording. What they actually are is scaling bits. And this comes in seriously useful when processing. What it means is that your original signal can be scaled up and down without loss. In an integer engine, if you decided to throw away 30dB of a signal, saved the result and reopened the file and amplified it again, you'd find that your 24-bit signal was effectively 19-bit. In Audition, if you did exactly the same thing with a 32-bit Floating Point signal, you wouldn't lose any bit depth at all. No it's not magic - it's just the effect of storing the original data in a form that inherenently doesn't get modified when an amplitude change is asked for - it's only the scaling system that does, and this doesn't contain audio data.
    So yes it's a real 32-bit signal - but not all of those 32 bits are used until you do some processing.

  • Bit Depth & Sample Rate: 24 bit 96kHz? 192kHz?

    I am using the Apogee Duet for Mac and iOS on my Mac and I love it - I'm thinking about getting an iPad for mobile recording (voice overs, mostly) and I wonder if Garage Band can manage 24 bit audio at 96 kHz or 192 kHz? I know that the Auria app can, so if nothing else I can just buy that, but since all I would use the iPad for is Voice Overs to edit later in a computer, a $50 app feels like overkill. Comments? Thoughts? Specs?

    Well, I am new to high-end sound cards, and I may be misinterpreting the terminology, but the sound card is supposed to be a 24bit/96kHz card.
    I am under the impression that one should be able to set the output quality of the card to 24bits of depth and a 96kHz sample rate, despite the speaker setting that one may be using, to decode good quality audio streams (say an audio cd or the dolby digital audio of a dvd movie.) I can currently achieve this only on 2. speaker systems (or when i set the speaker setting of the card to 2.) Otherwise the maximum bit depth/sample rate I can set the card output to is a sample rate of 48kHz and a bit depth of 6bits.
    Am I mistaken in thinking that if I am playing a good quality audio stream I should be able to raise the output quality of the card to that which it is advertised and claims to have?
    Thnx

  • Bit Depth and Render Quality

    When you finally export media to some sort of media format via the encoder does the projects preview Bit Depth and Render Quality settings affect the output file?
    I know there is "Use Preview files" setting in the media exporter dialogue but I just want to be sure of what I am doing.

    Jeff's response is my perspective, as well, which is both backed up by my own tests and the official Adobe word.
    Exhibit A: My Tests
    That is DV footage with a title superimposed over it in a DV sequence, with a Gaussian blur effect (the Premiere accelerated one) applied to the title; all samples are from that sequence exported back to DV. This was to show the relative differences of processing between software and hardware MPE, Premiere export and AME queueing, and the effect of the Maximum Bit Depth and Maximum Render Quality options on export (not the sequence settings; those have no bearing on export).
    The "blooming" evident in the GPU exports is due to hardware MPE's linear color processing. I think it's ugly, but that's not the point here. Further down the line, you can see the effect of Maximum Bit Depth (and MRQ) on both software MPE and hardware MPE. I assume you can see the difference between the Maximum Bit Depth-enabled export and the one without. Bear in mind that this is 8-bit DV footage composited and "effected" and exported back to 8-bit DV. I don't understand what your "padding with zeroes" and larger file size argument is motivated by--my source files and destination files are the same size due to the DV codec--but it's plainly clear that Maximum Bit Depth has a significant impact on output quality. Similar results would likely be evident if I used any of the other 32-bit enabled effects; many of the color correction filters are 32-bit, and should exhibit less banding, even on something 8-bit like DV.
    Exhibit B: The Adobe Word
    This is extracted from Karl Soule's blog post, Understanding Color Processing: 8-bit, 10-bit, 32-bit, and more. This section comes from Adobe engineer Steve Hoeg:
    1. A DV file with a blur and a color corrector exported to DV without the max bit depth flag. We
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    apply the color corrector to the 8-bit frame to get another 8-bit frame,
    then write DV at 8-bit.
    2. A DV file with a blur and a color corrector exported to DV with the max bit depth flag. We
    will import the 8-bit DV file, apply the blur to get an 32-bit frame,
    apply the color corrector to the 32-bit frame to get another 32-bit
    frame, then write DV at 8-bit. The color corrector working on the 32-bit
    blurred frame will be higher quality then the previous example.
    3. A DV file with a blur and a color corrector exported to DPX with the max bit depth flag. We
    will import the 8-bit DV file, apply the blur to get an 32-bit frame,
    apply the color corrector to the 32-bit frame to get another 32-bit
    frame, then write DPX at 10-bit. This will be still higher quality
    because the final output format supports greater precision.
    4. A DPX file with a blur and a color corrector exported to DPX without the max bit depth flag.
    We will clamp 10-bit DPX file to 8-bits, apply the blur to get an 8-bit
    frame, apply the color corrector to the 8-bit frame to get another
    8-bit frame, then write 10-bit DPX from 8-bit data.
    5. A DPX file with a blur and a color corrector exported to DPX with the max bit depth flag.
    We will import the 10-bit DPX file, apply the blur to get an 32-bit
    frame, apply the color corrector to the 32-bit frame to get another
    32-bit frame, then write DPX at 10-bit. This will retain full precision through the whole pipeline.
    6. A title with a gradient and a blur on a 8-bit monitor. This will display in 8-bit, may show banding.
    7. A title with a gradient and a blur on a 10-bit monitor
    (with hardware acceleration enabled.) This will render the blur in
    32-bit, then display at 10-bit. The gradient should be smooth.
    Bullet #2 is pretty much what my tests reveal.
    I think the Premiere Pro Help Docs get this wrong, however:
    High-bit-depth effects
    Premiere Pro includes some video effects and transitions
    that support high-bit-depth processing. When applied to high-bit-depth
    assets, such as v210-format video and 16-bit-per-channel (bpc) Photoshop
    files, these effects can be rendered with 32bpc pixels. The result
    is better color resolution and smoother color gradients with these
    assets than would be possible with the earlier standard 8 bit per
    channel pixels. A 32-bpc badge appears
    to the right of the effect name in the Effects panel for each high-bit-depth
    effect.
    I added the emphasis; it should be obvious after my tests and the quote from Steve Hoeg that this is clearly not the case. These 32-bit effects can be added to 8-bit assets, and if the Maximum Bit Depth flag is checked on export, those 32-bit effects are processed as 32-bit, regardless of the destination format of the export. Rendering and export/compression are two different processes altogether, and that's why using the Maximum Bit Depth option has far more impact than "padding with zeroes." You've made this claim repeatedly, and I believe it to be false.
    Your witness...

  • Maximum bit depth-maximum render quality when dynamic linking

    Hi
    A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
    1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
    2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?

    Hi jbach2,
    I understand your confusion.  I'm like that most of the time I'm working. *chuckle*  The two settings you mentioned are two completely different parameters affecting (or is it effecting) your video. You do not need to enable them within the sequence itself unless you want to preview video on you program monitor at the highest quality.  I personally don't recommend it, as it's a tremendous resource hog, (the program even warns you when you try to click them) and unessecary for improving final output.  Again, do not enable these options in your sequence settings if you are only wanting a high quality export. Doing so will greatly reduce your editing performance unless you have a high-end system. ...and even then I don't think its worth it unless you're editing on a huge screen with a Director who wants to see everything at a maximum quality during the edit process.
    Keeping it simple...
    Resizing your final output video? Use Maximum bit depth.
    Starting or working with high bitdepth sources? Use Max Bit Depth.
    When/where do I enable these? In the AME only. ^_^
    Why?:
    Enabling the Max bit and Max render only needs to be done when you are exporting.  They both serve different functions. 
    Max Render aids in the scaling/conversion process only.  My understanding is that you never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video.  For example, when rendering a 1080p timeline out to a 480p file format, you'll want to use MRQ to ensure the best scaling with the least amount of artifacts and aliasing.  If you're exporting at the same size you're working with, DON'T enable MRQ.  It will just cost you time and CPU. Its only function is to do a high quality resizing of your work.
    Maximum bit depth increases the color depth that your video is working with and rendering to.  If you're working with video that has low color depth, then I don't believe it will matter.  However, if you're working with 32 bit color on your timeline in PPro and/or After Effects, using lots of graphics, high contrast values, or color gradients, you may want to enable this option. It ultimately depends on the color depth of your source material.
    The same applies to After Effects.
    Create something in AE like a nice color gradient.  Now switch the same project between 8,16,32 bit depth, and you will see a noticable difference in how the bit depth effects your colors and the smoothness of the gradient.
    Bit depth effects how different plugins/effects change your overall image.  Higher depth means more colors to work with (and incidentally, more cpu you need)
    Just remember that "DEPTH" determines how many colors you can "fill your bucket with" and "QUALITY" is just that, the quality of your "resize".
    http://blogs.adobe.com/VideoRoad/2010/06/understanding_color_processing.html
    Check out this adobe blog for more info on color depth ^_^  Hope that helps!
    ----a lil excerpt from the blog i linked to above---
    Now, 8-bit, 10-bit, and 12-bit color are the industry standards for recording color in a device. The vast majority of cameras use 8-bits for color. If your camera doesn’t mention the color bit depth, it’s using 8-bits per channel. Higher-end cameras use 10-bit, and they make a big deal about using “10-bit precision” in their literature. Only a select few cameras use 12-bits, like the digital cinema camera, the RED ONE.
    Software like After Effects and Premiere Pro processes color images using color precision of 8-bits, 16-bits, and a special color bit depth called 32-bit floating point. You’ve probably seen these color modes in After Effects, and you’ve seen the new “32″ icons on some of the effects in Premiere Pro CS5.
    jbach2 wrote:
    Hi
    A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
    1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
    2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?
    Message was edited by: SnJK

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