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.

Similar Messages

User preference color bit depth overridden by prores HQ?

Hi there, any help much appreciated...
If you have your user preference color bit depth set to 8-bit, but render out to ProRes 422 (HQ) - does the codec's bit depth override that setting? Is the footage automatically rendered to at the codec's bit-depth?
And what bit depths does that codec support? There's no dialog drop-downs on the render codec settings to select a particular bit-depth... Which would suggest that this option is set in that user preference panel. However in my user preference panel, only 8bit and Floating are available as selectable options - 10, 12 and 16 are grayed out.
The reason I ask is this - I had the user preference bit depth set to 8 when I rendered out all my footage... Whereas I had I checked this option I would have preferred a higher setting. I'm on a deadline and don't have time to re-render everything... The film is heavily desaturated, so I'm not too concerned about banding - If I'm not mistaken, 8-bit color depth should be sufficient to prevent this in mostly gray images?

Wesley Ball wrote:
If you have your user preference color bit depth set to 8-bit, but render out to ProRes 422 (HQ) - does the codec's bit depth override that setting? Is the footage automatically rendered to at the codec's bit-depth?
There are two settings that are mutually exclusive: Output codec & Render Bit Depth.
Color will render at whatever bit depth you select. Your available bit depths for rendering is determined by your graphics card.
The export codec bit depth is how the resultant image gets written out to disk. If you pick Uncomressed 8bit, then that float image will get rounded down to 8bit.
ProRes is interesting. From some previous testing I've done this is what I've found (and if I'm wrong, please speak up): If you select ProResHQ (and I don't see any reason to ever pick ProResSQ) if Color is rendering at 10bit or better, ProRes will write out a 10bit file (which can be confirmed in FCP by viewing the footage properties - Command+9). If you have Color set to process at 8bit, then ProRes will write out an 8bit file.
Wesley Ball wrote:
The reason I ask is this - I had the user preference bit depth set to 8 when I rendered out all my footage... Whereas I had I checked this option I would have preferred a higher setting. I'm on a deadline and don't have time to re-render everything... The film is heavily desaturated, so I'm not too concerned about banding - If I'm not mistaken, 8-bit color depth should be sufficient to prevent this in mostly gray images?
More bits = more subtle gradiations without banding. Saturated or not. Remember, the difference between 8bit and 10bit is 256 shades of gray compared to 1024 shades of gray.
My general preference, render in float & write out at 10bit.
- pi

Set Bit Depth to 1 bit in PS CS2 V9

I need to create documents for a scanning system. The recognition software requires the templates be Black & White, 150 dpi, at 1 bit depth. Can one set the bit depth to 1 bit in PS CS2 v9? The original document was created in MS Word, printed to Acrobat Professional 9 and converted to a TIF by AcroPro as well as acquired directly from the flat bed scanner at 150dpi in black & white mode.
Für Elise – Support the Heart & Breast Cancer Foundations

Implicit in Mr. Barnett's post is that "bitmap" in Photoshop means 1 bit per channel, with only one channel. That's what you are looking for.

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:
HP Pavilion zd 7000
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

PS-CC 2014 (latest) - changing 32-bit depth file to 16-bit

I opened a file, happened to be 32-bit depth (I don't have too many, not even sure how that one got to be 32-bit), and because a lot of filters don't work with that, I changed it to 16-bit, but when I did that, the HDR toning dialogue appeared, and I HAD to click OK on it to get the image to convert to 16-bit (CANCEL on the dialogue leaves it at 32-bit). So you have to choose a METHOD that you can set so there's no change to the image. Weird & wrong . . .

Sorry, no solution to the problem, but a confirmation. I do have the same problem (Intuos Pro and Pen & Touch) showing the problem with ACR 8.5 and Photoshop (2014, CC and 6, these were updated with ACR 8.5) . No such problem before ACR 8.5 and no problem with LR 5.5 (also containing ACR 8.5).
I hope there will be a solution from Adobe soon, since sems to be caused by the ACR update.
Windows 8.1 in my case and latest Wacom Intuos driver installed.
Thomas

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.

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

How to view resolution (ppi/dpi) and bit depth of an image

Hello,
how can I check the native resolution (ppi/dpi) and bit depth of my image files (jpeg, dng and pef)?
If it is not possible in lighroom, is there a free app for Mac that makes this possible?
Thank you in advance!

I have used several different cameras, which probably have different native bit depths. I assume that Lr converts all RAW files to 16 bits, but the original/native bit depth still affects the quality, right? Therefore, it would be nice to be able to check the native bit depth of an image and e.g. compare it to an image with a different native bit depth.....
I know a little bit of detective work would solve the issue, but it
would be more convenient to be able to view native bit depth in
Lightroom, especially when dealing with multiple cameras, some of which
might have the option to use different bit depths, which would make the
matter significantly harder.
This
issue is certainly not critical and doesn't fit into my actual
workflow. As I stated in a previous post, I am simply curious and wan't
to learn, and I believe that being able to compare images with different
bit depths conveniently would be beneficial to my learning process.
Anyway,
I was simply checking if somebody happened to know a way to view bit
depth in Lr4, but I take it that it is not possible, and I can certainly
live with that.
Check the specifications of your camera to know at what bit depth it writes Raw files. If you have a camera in which the Raw bit depth can be changed the setting will probably be recorded in a section of the metadata called the Maker Notes (I don't believe the EXIF standard includes a field for this information). At any rate, LR displays only a small percentage of the EXIF data (only the most relevant fields) and none of the Maker Notes. To see a fuller elucidation of the metadata you will need a comprehensive EXIF reader like ExifTool.
However, the choices nowadays are usually 12 bit or 14 bit. I can assure you that you cannot visually see any difference between them, because both depths provide a multiplicity of possible tonal levels that is far beyond the limits of human vision - 4,096 levels for 12 bit and 16,384 for 14 bit. Even an 8 bit image with its (seemingly) paltry 256 possible levels is beyond the roughly 200 levels the eye can perceive. And as has been said, LR's internal calculations are done to 16 bit precision no matter what the input depth (although your monitor is probably not displaying the previews at more than 8 bit depth) and at export the RGB image can be written to a tiff or psd in 16 bit notation. The greater depth of 14 bit Raws can possibly (although not necessarily) act as a vehicle for greater DR which might be discerned as less noise in the darkest shadows, but this is not guaranteed and applies to only a few cameras.

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
will import the 8-bit DV file, 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 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...

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.

Bit Depth 8, 16 or 32???

I have been working in a bit depth of 8. I mostly do titles for wedding videos in motion. Is something going to improve if I change this setting. What is it for?
Thanks in advance

Mostly if you are working with files like exr files that contain float information - you can avoid clipping and banding and the like. Doesn't have too much impact for stuff you create directly in Motion, but can help for things like extensive blurs or where you see posterization occuring. As Patrick states, though, big hit in render time. IMHO you have no need for it for what you are doing.
Mark

Changing bit depth

Is there any way of changing bit depth in A3? I scan 48 and 16 bit TIFs and would like to drop certain pics to 24/8 (for storage reasons). I'd obviously prefer not to have to export to PS if possible. Thanks.

I don't know the technical trade-offs of _how_ the reduction in bit depth is done, but there must be a simple, probably automate-able and even batch-able way to effect the conversion. As an example, you could set Aperture "External Editor File Format" to "TIFF (8-bit)" and simply run "Edit with {external editor}", save the file in the external editor, and then back in Aperture delete your 16-bit originals.
The point -- which you've already understood -- is that you are creating new, different files and adding them to the list of files already listed in your Aperture Library. For your workflow, this makes sense and seems a good use of Aperture. You may find that the cost savings represented by the reduction in storage space achieved by lowering the bit-depth is not worth the administrative cost of creating these replacement files and deleting the others.

After Effects 8-bit depth question

Hey everyone, this is something i've just been wondering about. Correct me if i'm wrong but its my understanding that with 10-bit depth footage or higher After effects crunches it to 8-bit after the render/export. If that's the case then what is the actual point of capturing at higher bit depths in the first place if we can't maintain them when it comes down to final delivery?
Thanks very much for any help.

Cacogen24 wrote:
Hey everyone, this is something i've just been wondering about. Correct me if i'm wrong but its my understanding that with 10-bit depth footage or higher After effects crunches it to 8-bit after the render/export.
You're only partly wrong. If you keep the project 8bit then you're right, but that's a terrible workflow. Where most folks foul up is in the rendering.
After Effects offers 8bit, 16bit, and 32bit processing options. If you render a 32bit project to an 8 bit codec, you get 8bits, but if you render a 32bit project to a 10bit codec (Black Magic, ProRez, or several other flavors of higher bit depth codecs) you get a 10bit product. You can also render to 16 or 32 bit image sequences.
All of these settings are available in the Adobe Media Encoder or through the Output Module settings in the Render Cue. Since I work primarily on a Mac all of my production renders are to ProRez 422 or 444 (10bit) unless I'm freelancing at a facility that works with another capture card. Most places I work use Black Magic cards so we render to the Black Magic 10 bit codec.
My standard workflow is to start with an 8bit project, set up the project and render motion and compositing tests, then switch to a 32bit project settings, do the color correction, then render to a production codec that is at least 10bit.
BTW, don't use the export feature in AE for any kind of delivery. Export's only professionally usable export is Flash Professional XFL if you need animated motion or text in a flash project or Premiere Pro Project if you want to use Premiere to edit your AE project.
I hope this helps.

Saving in 96KHz 24 Bit-Depth

I am a newbee and I have a problem. I just imported a Premier Pro project into Adobe Audition. The Premier Pro project was linked to 96Hz sample rate, 24 bit-depth audio and I have the sample rate preference in Audition set to 96Hz, yet when I selected to "Edit in Adobe Audition" it imported the audio files into Audition as 48Hz audio files and I can only save the session at 48Hz sample rate and 16 bit-depth. Why is this? Also, Premier Pro linked to the media on my hard drive, while Audition seems to have imported the media into the project. Is this normal?
Thanks

codywinton92 wrote:
It depends on what you mean by saved. When I imported the .wav audio files into Premier Pro, it didn't copy them into the project, but linked to the files on my hard drive. I doubt that it converted them down, because when I checked the meta data of the files in Premier Pro's media bin, they registered as 96khz 24 bit audio files.
Well, assuming that it works in a similar way to Audition (and we have to until somebody who actually knows what happens in PP tells us), it could well be that the files are stored as 96k/24 on your drive (hence the metadata report), but when imported into a PP project they get opened at the project rate. And if that's 48k/16, then that's what will get linked to Audition - the local copy files as they actually are in the session, rather than what you have stored.
Audition does the same thing. If you have a file stored at one rate, but a multitrack session running at a different one, then it will only let you put the contents of that file into your different-rate session after it's created a local copy at the correct rate.
What you (or we...) need is somebody who's familiar with doing the round trip between Audition and PP, and actually knows what happens. It's all very well for me to guess, but I must admit that I'm only doing this because nobody else has attempted to answer you.
One thing is pretty certain, though. And that is that what the help desk told you is absolutely irrelevant. This is about file handling, not drivers. Sometimes I really wonder about some of their crib-sheets!

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).
I've done my first tests with the just-released new version of Audacity (2.0.0), which is compatible with 10.4 and higher, so I'm very happy to be able to install a brand-new application in 10.4.
Audacity works fine, but has a couple of issues:
First, you can choose the audio track bit depth, but not the internal bit depth at which you're sampling. In other words, I'd expect to use some selector to choose from PCM16 or PCM24 recording, which is what this iMac seems to support. However, I can only choose the storage bit depth, not the sampling bit depth. I suppose Audacity is recording at PCM24, but I've no way to test this.
Second, it takes about 40% CPU usage while recording (yes, I disabled the realtime graphics update of Audacity... if I don't disable it, usage becomes 60% or higher).
I tried Audio Hijack Pro (well, the last version supporting 10.4), and it won't let me choose the sampling depth either.
So... do you know of any simple recording app which overcomes this issues?
TIA!
cesarpixel

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.
GB records at the best possible quality, up to 24-bit. I used 16-bit because my source was analog tapes and records, and I did not think it would make the final result any better. The GB project file serves as my "master copy" for future enhancement.
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.

Bit Depth Setting?

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