32 Bit Float

Is Logic 7 Pro 32 Bit Float? Or can it import 32 Bit Float Files?
If Logic is 32 Bit Float Is there a setting in Logic Pro 7 to record in 32 Bit Float?
If So How? Thanks.
iNtel Dual Core Mac 17"   Mac OS X (10.4.8)   2 Gigs Of Ram

Logic's audio engine is 32 bit floating points and freeze files are 32 bit floating points. However, Logic does not record or support 32 bit floating point files.

Similar Messages

  • 32 bit Floating Point

    Hello,
    Running FCP 5.1
    Having audio sync issues and was double checking my settings.
    Although the sequence presets are at 16 bit, they are showing up in the browser as 32bit Floating Point.
    Any thoughts?
    I generally capture now at 30 minute increments and actually have always had this issue. FCP 4.5 and 5.1
    all settings are where they should be.
    although I do notice, obviously when the device is off, the audio output defaults to 'default' not to firewire dv.
    thanks
    iMac intel Mac OS X (10.4.8)

    Some more details please. What hardware device are you sourcing the audio clips from? The likely culprit is your capture settings. What preset are you using? Check Audio/Video Settings-Capture Presets and see if the preset you've selected records audio as 32 bit. It will say in the right column after you've selected your preset.
    If it says 32 bit there, click Edit to get the Capture Preset Editor. Under Quicktime Audio Settings, the Format field should give you a selection of sample rates and possibly alternate bit depths. If your only choice is 32 bit, (as it is for me when I capture audio via my RME, 32 bit Integer in my case) then you'd be well served by bringing those files into Peak or Quicktime and saving them as 16 bit Integer files to match your sequence settings.
    If you've imported these files into FCP from an audio editor that can create 32 bit floating point audio files, eg Kyma, Sequoia, Nuendo, etc. then the same advice applies. The 32 bit files are much larger than they need to be and may upset the apple cart (he he, pun) when pulled into a sequence with different settings. More cpu overhead for sure.
    Let us know what you find.

  • How do you get 32-bit float effects to work with an alpha channel?

    I make a few bugs and lower thirds, but I'm having a lot of trouble getting 32-bit float effects to correctly export with transparency.
    When I make semitransparent animations with bright lighting effects, they look great in AE but I can't seem to find any way to bring them over to Final Cut and get them to look like they should.
    I've attached this example of a bug with a screenshot from AE on the left and from FCP on the right. The colors dim and the vibrant blue gradients get flattened into a dull greenish color.
    So far as I can tell, all my alpha and color management settings are correct. I've tried endless settings options and codec options to try to fix this, to no avail.
    You can create an extreme case as an example by creating a semitransparent shape, cranking the color way up to a saturated superwhite color, and moving it around with motion blur. The render looks pretty much just like a 8/16 bit render, and nothing like it did in your canvas.
    I have a feeling the way AE multiplies the superwhite color values with the alpha channel gets "lost in translation" when it is rendered to 4 8-bit channels. Is there any way to get it to look the way it does in the canvas?
    Thanks,
    Clint

    Thanks so much for your ideas. I'd already tried experimenting with a number of color management options, including 'Preserve RGB' and turning off 'Convert to Linear Light' but they didn't fix it. I had also already tried using the "None" option from the codec menu.
    I pulled it back into AE, and it looks the same as it did in FCP.
    I'm starting to think the issue has something to do with AE rendering to a file differently than the way it renders to the canvas. For example, here's a fast moving 50% opaque superwhite shape in the AE canvas:
    I rendered this using Animation + Alpha using Best settings and 32-bit float, and reimported it into AE:
    I think the answer may lie in the fact that the first image looks solid white in some places, even though it is 50% transparent. It's almost like the excessive RGB values "bleed" over to the alpha channel. The rendered image (probably correctly) looks grey because it represents white at 50% opacity.
    What I want to do though, is find a way to make my render look like my canvas. So it seems I need to do two things to the image:
    1. Find a way to increase opacity in areas of excessive white, so that they are not grey in the render.
    2. Find a way to "bake" the superwhite colors to a level below 100% white so that they show up in the render.
    I tried the "Alpha from Max Color" effect and this seems to get kind of close, but unfortunately it discards other parts of the alpha channel (like drop shadows).
    It might also be helpful to know that when I have AE output to an external NTSC monitor (via Intensity card) the monitor shows the exact same artifacts as the render.

  • Sequence audio format stuck on 32-bit Floating Point

    Hi,
    The audio format for all my sequences is set to 32-bit Floating Point when I check them in the browser's Aud Format field. When I manually change the format in the sequence settings nothing changes in the browser and choosing a new sequence set up doesn't seem to help. What I don't understand is that there isn't even an option for 32-bit Floating Point in Audio Settings. Anyone else experience this?
    I am using v6.0.6 on osx 10.5.8
    Thanks,
    Tom

    16 bits per channel equals 32 bits stereo. Floating point means that you can, but don't have to, have a non-integer value for your audio.

  • Photoshop CS3 vs CS2 32 bit floating point tiff loading

    Hi,
    The application I'm developing exports 3 channel 32 bit floating point tiff's.
    The exported files could have been loaded into PS CS2, but PS CS3 can't load them anymore, all I get is a message box with this message:
    "Could not complete your request because of a problem parsing the TIFF file."
    I've uploaded the file here, so you guys can have a look at: www.thepixelmachine.com/dispmap.tiff

    Where should I've posted this thread instead? I suppose people here write plugins by programming them (right?), so they suppose to be programmers, not regular PS users. I thought a programmer would be much more familiar with programming related issues, such as tiff file saving c++ routines. Correct me if I'm wrong.
    The people who tested the file have Photoshop CS3 and didn't manage to open it, they even sent me screenshots with the error message box. In CS2 however, the file loads perfectly. Also, the single strip version opened just fine in CS3.
    You may close this thread, the problem was solved and more than that it looks like I haven't posted it in the right forum.
    Thanks.

  • 128-bit floating point calculations

    I'm looking to buy a used SPARC. Which model is the oldest that provides
    C or fortran 128-bit floating point calculations? Does every 64-bit CPU
    have 128-bit quad real numbers?
    Ron

    The AMD 64-bit processor does not support 128-bit
    floating numbers. I need a Sparc processor that
    does.And yet your question has just what to do with Java -- why did you create a userid and post this question in the Java forums?
    A response "Does every person have ten fingers?"
    shows me that you don't know much about writting
    computer programs that have more than 16 significant
    decimal digits.I wouldn't infer that - but now that you've proven to be a whiny little snot, I'm sure everyone is just going to want to help you here.

  • How do I swap 64-bit and 32-bit floats from little-endian to big-ending

    I am trying to read a file that could contain a list of 64-bit floats or 32-bit floats that were written on a PC so they are little-endian.
    I need to convert the float values to big-endian so that I can process the values. I know that straight swapping each byte with the adjacent byte doesn't work (especially since their floating point values). I've tried swapping them end for end (i.e., byte 15 from the file becomes byte 0 in my array) and that didn't work either.
    I know that if I were to read the little-endian float into the big-endian float type (float or double) that the format is pretty much lost (from little I understand about how floating point values are stored in memory).
    So, what I need is a way to read in a series of little-endian floating point values (64-bit and 32-bit) into a big-endian array of floating point values.
    Anyone have any ideas on how to do this? Any help would be much appreciated.

    A 64-bit double is represented by the sign bit, an 11-bit (biased) exponent
    followed by a 52-bit mantissa. Both x86 and SPARC use the exact same
    representation for 64-bit double. The only difference is the endianness
    when stored to memory, as you observed.
    A 32-bit float is represented by the sign bit, an 8-bit (biased) exponent
    followed by a 23-bit mantissa. Again, both x86 and SPARC use the exact
    same representation for 32-bit float modulo endianness.
    As you can see, a 64-bit double is not merely a pair of 32-bit float.
    You need to know exactly how the floating-point data was written:
    if a 32-bit float was written, you must endian-swap it as a 32-bit float;
    if a 64-bit double was written, you must endian-swap it as a 64-bit double.

  • Heat haze with 32 bit float

    Hi.
    I found a method for a heat haze effect on Digital Media Net and have been using this for a while with no problems.  The method uses the CC Particle world AE effect.  My current animation is rendered from 3DS Max as EXR and my AE composition is 32 bit float.  When I add CC Particle world I get a warning that it only works with 8/16 bit and could reduce precision/ remove high dynamic range values.
    Are there any similar heat haze methods that are compatible with 32 bit float?
    Thanks,
    T

    And what specifically? The Particles only provide the displacement map and that would have limited levels even in float nor may you actually even need the extended range. You know, in 16bit you could still displace your artwork by a gigazillion pixels before any quantization shows up. Anyway, you can't solve the particle part of the equation unless you buy a third-party plug-in like Particular. Still, even then it remains unclear whether the actual internal logic produces full float values all the time or if they only are generated for final output. Pardon me for saying this, but it seems to me you are trying to see a problem where there isn't actually one...
    Mylenium

  • Help me changing 32-bit floating point into 16bit

    When I open a new project, the browser gives the following information:
    Audio format: 32-bit floating point.
    Even when I changed the sequence settings (under sequence > settings, or under final cut pro > audio/video settings > sequence presets > edit) to 16 bit, the 32-bit floating point in the browser stays the same.
    I would love to change this into 16 bit. Can anybody help me?
    Thnx

    You can't change it. FCP is 32-bit float internally. What are you trying to do by changing it?

  • Using iMovie footage in FCP: 32-bit floating point audio?

    I'd like to use iMovie 7 to capture my DV footage because I like its cataloging and skimming features, and the way it splits up clips based on DV stops. I want to do my editing in Final Cut Pro 5. Unfortunately, I've found that the audio depth in the clips I've captured with iMovie is 32-bit floating point, rather than 16-bit integer, and FCP has to render the audio before it can play back. Strange, since the FCP browser says that the sequence I dropped the iMovie footage into IS 32-bit. Any ideas on how to get FCP to playback this bit depth without rendering, and without having to convert my footage?

    Do a search here and you will find all kinds of post on this very subject.
    The main problems with using iMove to capture for FCP are
    1. iMovie and FCP capture in very different ways. iMovie captures footage as a DV stream, problematic for editing in FCP
    2. iMovie captures will not give you the timecode from your tape... may or may not be important to you unless you ever need to recapture and reconnect the footage.
    In short, if you are editing in FCP... capture with FCP. If you want to split the footage based on tape start/stop, use the Start Stop detect function after you have captured.
    rh

  • 32 bit floating point ... SLOW...

    Hi,
    I ran a little test because i found Motion took too much time exporting with 32 bit floating point.
    I made a single layer, animated text in Motion with my Quad ( 2.5 G RAM)
    When i exported 32 bit floating point QT Animation in Motion, it was very very slow and the CPU were running at 10 to 15%.
    When i export 8 bit floating point, it is much faster but CPU run at about 20%.
    BUT
    In FCP, when i render 8 bit Motion project and .mov (from 8 bit), or 32 bit Motion projet and .mov (from 32 bit), they all render pretty fast...
    8 bit Motion prj 45% CPU
    .mov from Motion 8 bit 30% CPU
    32 bit Motion prj 45% CPU
    .mov from Motion 32 bit 60% CPU
    Why that much difference ?
    I dont understand why the CPU are running higher with a .mov (QT Animation) that has been created in 32 bit floating point ?
    I thought that once it has been created (self contained) it did not matter...
    thanks

    32 bit floating point refers to how it will be rendered. Has nothing to do with the format itself. You're OK ... just edit.
    32-bit floating point allows audio calculations, such as fader levels and effects processing, to be
    performed at very high resolution with a minimum of error, which preserves the quality of your digital audio.
    Jerry

  • 16 bit integer vs 32 bit floating point

    What is the difference between these two settings?
    My question stems from the problem I have importing files from different networked servers. I put FCP files (NTSC DV - self contained movies) into the server with 16 bit settings, but when I pull the same file off the server and import it into my FCP, this setting is set to 32 bit floating point, forcing me to have to render the audio.
    This format difference causes stuttering during playback in the viewer, and is an inconvenience when dealing with tight deadlines (something that needs to be done in 5 minutes).
    Any thoughts would be helpful.

    It's not quite that simple.
    32 bit floating point numbers have essentially an 8 bit exponent and 24 bit mantissa.  You could imagine that the exponent isn't particularly significant in values that generally range from 0.0 to 1.0, so you have 24 bits of precision (color information) essentially.
    At 16-bit float, I'm throwing out half the color information, but I'd still have vastly more color information than 16-bit integer?
    Not really.  But it's not a trivial comparison.
    I don't know the layout of the 24 bit format you mentioned, but a 16 bit half-float value has 11 bits of precision.  Photoshop's 16 bits/color mode has 15 bits of precision.
    The way integers are manipulated vs. floating point differs during image editing, with consistent retention of precision being a plus of the floating point format when manipulating colors of any brightness.  Essentially this means very little chance of introducing posterization from extreme operations in the workflow.  If your images are substantially dark, you might actually have more precision in a half-float, and if your images are light you might have more precision in 16 bits/channel integers.
    I'd be concerned over what is meant by "lossy" compression.  Can you see the compression artifacts?
    -Noel

  • 32 bit floating?

    Saw this question in another post and it happened to me as well. When FCP finished digitazing a clip I got a messsage that there was a sample rate missmatch or somthing. the Audio is 48K 16 bit. But the Secuence settings have changed to 32 bit floating. In another post they said it still stay in Sync but after the 7 minutes I digitaized in it was off by about 1/2 to 1 second. I hve used FCP since version 1 but this is the first time this has happened. Even creating a new sequence the audio still say 32 bit floating. Why is this and how can I change it back?
    Thanks,
    -Lars

    Ya that was the odd thing. I May not have noticed the audio going out of sync if it was a short clip. I had about 7 minutes dig'd in, we have a cooking show that I do and they are 7 minute segments. The audio was off by only 1/2 second but noticable. FCP said the video was 29.97 and QT player said it was 29.95.
    The Tape came from an XL1 and U used my PD100a DVCAM camera to bring it in. Just so you know this is the process that we use foir every show and all has worked well for the last 26 shows with out a hitch.
    Now that I have set up After Effects I am trying to render out a movie file and convert the 29.95 back to a 29.97. The audio plays fine with setting at 29.95.
    At first I exported out the audio file and dropped that into peak to transfor the duration by 1/2 second. But when I brin git in to FCP the audio is off by 2 seconds now. I tried many version of that but could not get it synced at the end ot the video.
    -Lars

  • Premiere Pro and 4:4:4 32-bit float

    In one of the Adobe TV videos Jason Levine explains that Adobe Premiere Pro "automatically upsamples media upon import to 4:4:4 32-bit float." Can someone please explain the technical meaning of the 4:4:4 and the 32-bit part and how this effects how we work with video in Premiere Pro in a little more detail?
    http://tv.adobe.com/watch/adobe-evangelists-jason-levine/staying-native-or-going-intermedi ate-transcoding-and-premiere-pro-cs5-/
    Start watching at 5:40 or so...
    Thx in advance.

    See http://en.wikipedia.org/wiki/Chroma_subsampling
    4444 is simply RGBA (red, green, blue and alpha) or as Adobe calls it BGRA with 8 bits per channel, thus the 32 bit format. The practical effect is that with certain effects, like chroma keying or CC the loss is minimal. However, this only applies to certain types of video like RED 4K or EPIC 5K. MXF material for instance is still handled as YUV 422.
    Some plug-ins like DissolveMaster also upsample to BGRA 4444 to avoid losses and do it even with YUV 420 or YUV 422 material.

  • 32-bit floating point HDR support for LR4.1 RC2

    Folks,
    In the event you haven't discovered it, LR4.1 RC2 has added support for importing and adjusting a 32-bit floating point TIFF file. Which means LR4 can tonemap an HDR image. To use this, you'll need to use Photoshop's HDR Pro to put together the multiple exposed images, then set the options to make a 32-bit HDR image in HDR Pro and save that as a TIFF file. Then import the TIFF into LR4.1 RC2 for toning...note: nothing you do to the HRD in HDR Pro will impact the 32-bit FP TIFF. If you do some initial adjustments of the original raw files in LR 4.1, I'm pretty sure most of the toning in LR4.1 on the raw files is ignored. But white balance works (haven't tested spot healing and lens corrections yet).
    Note, to do the HDR process, the raw images will end up being demosaiced and the saved HDR TIFF will be a linear ProPhoto RGB image.
    Try it...the ability to use LR (and eventually ACR–it's not hooked up in the ACR 7 beta yet) to toning HDR images is actually pretty impressive. Also note, that you don't really need to feed HDR Pro a ton of multiple exposures...2 (normal and under to preserve highlight detail) or 3-5 depending on the scene contrast range is all you need. More isn't really better (unless you really need to shoot a very high dynamic range scene...

    I will try that in the morning, but when checking the properties today it did say 16-bit for each clip. I have gotten around this by taking each clip offline, opening it in STP, applying the effects, doing a save as and then reconnecting each clip with the new file. It seems to work with no sync issues. Just doesn't work as easily as it should. Ideally I should be able to send each section to an STP script and allow it to do its work and have it work.
    I sure hope to find out exactly what is going on.
    K

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