SEQUENCE SETTING: Audio Bit Rate

Is there any way to get 24-bit audio in a sequence or project setting?  We see no option to create a 24-bit project or 24-bit sequence in Premiere Pro CC.
We recently made the jump over from FCP 7 to Premiere Pro CC and we are hoping this is an ‘audio works differently in Premiere’ issue.
We have been editing ProRes (422HQ) as that is how our broadcast clients require final delivery. We edit with ProRes (HQ) files with 24-bit audio. We have also have attempted to create a sequence based on the clip settings. We figured everything is working as expected...we also get our final mix from our audio designer 24-bit.
However, when we are ready to deliver our mixed master, we go to 'Export Media', and attempt to send out our sequence via 'Match Sequence Settings', as we want the specs we set up. BUT, Premiere reveals to us the audio is 16-bit (even though 24-bit audio is in the timeline). Yes, if it’s unchecked we can create a custom 24-bit preset. But that's like dubbing a dub, losing resolution (to put audio in video terms), and bumping it back up. As if Premiere is currently converting our 24-bit audio to 16-bit in our sequence, thus forcing us to convert a lower quality audio (16-bit) from the timeline, back to 24-bit for the exported master?
This seems like it would be detrimental to the quality of our audio delivery and our standards.  How can we use the original 24-bit audio file from our designer? Why does the Match Sequence Setting say our audio is 16-bit when it is not?
Can we adjust the audio settings in Premiere Pro CC project or sequences to reflect a 24-bit audio.
Thanks in advance!

Exactly..
So how do I ensure the 24-bit audio in my sequence is being used properly...the Match Sequence Setting (which I don't use) is saying my sequence is 16-bit, and that's deceiving if it's not...Why would Premiere 'think' that, especially when we have only 24-bit audio files in the timeline and project.
The MS Setting drop down menu is not giving me the trust of what is natively in my timeline, when it's displaying it's 16-bit. Therefore, it's not giving us the confidence Premiere is handling my audio correctly...How do I know Premiere is using my 24-bit audio during that manual export?...cause to me, Premiere's thinking it's 16-bit.
Is it downgrading the audio int the timeline? And am I bumping it back up when I do it manually? That's not good, and unacceptable for broadcast.
Hope that was understandable.
Thanks!

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    > I'm new to Flash, and I'm trying to decide how to set
    the bit rate (kbps) for
    > my audio files.
    >
    > I'm creating PowperPoint-like presentations with voice
    audio. You can see what
    > I'm doing at
    >
    >
    http://preparatorychemistry.com/Bishop_Audio_Book.htm
    >
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    it sounds, especially
    > through headphones connected to the computer. My
    presentations, of course,
    > sound better with higher bit rates, but file sizes
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    >
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    <urami>
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    Della,
    Did you try the BitVice demo yet?
    I'd be happy to help, so that your experiments with it will be fruitful. If you contact Innobits with any questions, I promise I will answer you personally. You are right in the assumption that bitrate graphs will not tell you any real truths. At least not those you were looking for:-(
    Dear you all, Della included of course,
    As one of the scientists behind the Bitvice MPEG-2 encoder, I am sad about the time we spend helping people clarify the crazy things they hear. Fortunately there are forums, such as this one, where hopefully clarifying the same things multiple times is not necessary. (Thus the invention of the FAQ)
    At BitVice we treat our customers very well, and we are happy to help on this topic also.
    There are so many misconceptions about maximum bitrate floating around on the Internet. Therefore, in a perhaps futile attempt, I decided that this might the time for putting my foot down. Hopefully, it may shed some light on the subject, at least to some of you.
    No names, but I know that some of you are far better than me to explain technical things in a more "popular" form to members of this forum. If any of you wish to "translate" the essence of it into a more human readable format, please contact me off-line to get a "complete story".
    I am not aware of any publically available diagnostic tool, for momentary (peak) bitrate graph calculation, that could be seriously used for MPEG-2 video stream evaluation against what is meant by "maximum bitrate", as defined in the DVD, or MPEG-2, specifications. Please, correct me if you think I'm wrong.
    Bitrate graphs are generally created upon inspection of a .m2v file and based on some (non-standardized) time interval.
    Depending on how (by which intervals) you are calculating a momentary bitrate of a .m2v file, it may very well vary between 1 to 40 Mbps, even for DVD compliant constant bitrate streams. The MPEG-2 group was obviously aware of this fact and therefore didn't even try to define what "momentary bitrate" is. And, INTERESTINGLY, there is absolutely no need for such a measure anyway, at least not where MPEG-2 is concerned. I hope the following will help to explain why that would be like weighing of a truck by measuring its length instead, regardless whether it was empty or fully loaded.
    The DVD spec. has a 9.8 Mbps limit to the video bitrate, and 10.08 Mbps for the total bitrate. However, this has very little to do with what many bitrate graphing applications is trying to tell you. I'd say, unless they offer you to decide which maximum bitrate it is supposed to measure against, it is just pulling your leg. I think this is really sad. You didn't ask, or pay, to be falsely comforted, did you?
    It really doesn't work the way you are led to believe. Actually, the MPEG-2 specification is completely silent about how to even calculate any "peak" bitrate (just because it is really beside the point). Instead, this rate problem is handled in a far more sofisticated and clever way, namely by looking at the decoder buffer fullness at all times. This seems to be completely ignored by most bitrate graphing utilities.
    Don't get me wrong here, such utilities can still be rather useful for getting a general idea of which parts of a movie requires more bits than others, but that's about all they can do. For your own mental health, don't fall into the trap of thinking that the highest peak (momentary bitrate) is telling you what the max bitrate is. Sorry, if this sounds confusing at first.
    The correct way of interpreting the term "maximum" bitrate is
    NOT by comparing to any kind of bitrate graph. That is simply because MPEG-2 does not even define any way to calculate such a thing.
    Instead, one needs to think of the "maximum" bitrate as the maximum CONSTANT sustained rate, at which a decoder is capable of reading (or pulling) the data from e.g., a DVD disk. Just think about it for a little while and you will understand that it is more a property of the decoder/player than of the MPEG stream (file) itself. Of course, the responsibility of meeting these requirements rests solely on the MPEG-2 encoder. However, and this is very IMPORTANT, the encoder is COMPLETELY FREE to chose ANY strategy or policy to ascertain that the buffer requirements are complied with. That alone, is enough to leave bitrate graphing utilities in the dark of what is really going on.
    If the time it takes to display some already buffered frames (which could amount to say 50 to 300 ms, as counted in display time, depending on the situation) is too short for the next (big) frame to be pulled in its entirety from the disk, then the decoder buffer will underflow. Meaning; that no complete frame was received in the buffer by the time next frame was supposed to be decoded. This situation is where you can honestly say that the bitrate of the stream was higher than the decoder was capable of reading.
    However, this is a very tricky thing to capture in a bitrate graph just by inspecting the stream, unless you know everything about the current state of the buffers in general (meaning that its recent history is important) AND more specifically knowing at which rate the decoder is supposed to be pulling picture data from the disk, including, of course, any imperfections in the DVD media.
    Given this maximum sustained "pulling" rate, which actually corresponds to the "ceiling" setting in BitVice terminology, it is up to the MPEG-2 encoder to create a stream (.m2v file) that will never, neither overlow nor underflow the decoders' buffers. For those who think a step further on this matter, it means that there exists no common time (duration, measured along the display-time axis, or a number of frames) over which one can calculate a peak bitrate. So, however you choose to do; averaging number of bits over one second, over half a second, over a certain amount of frames or whatever, you will NOT find the correct answer to how the bitrate graph should look like, if you want to be able to interpret the peaks as reflecting what the max bitrate is.
    Let's agree that an MPEG-2 stream NEVER has a constant frame rate, as seen by a decoder reading at a constant "maximum" bitrate. From this follows;
    Assuming a duration, as counted in display time, by which you can divide the number of bits to get a bitrate, is rather pointless, and also wrong. However, that is generally what is assumed by a bitrate graphing utility.
    An MPEG-2 video stream NEVER has a constant frame rate, as seen by the decoder. One frame may be swallowed 5 ms and the next may take several hundred milliseconds to completely enter the decoder buffer.
    This is because every frame has an individual size, which may vary most considerably (even for CBR), but the decoder reads the stream of them at the same (normally maximum, see the PS below) bitrate. So, while the decoder is displaying one single frame on your TV monitor, it may be receiving and decoding several successive smaller frames. On the other hand, while receiving/decoding larger frames (e.g., I-frames) it will have time to display many previous frames on your monitor, before a single later, and bigger, frame has been completely read into the decoder buffer. I hope this explains why you should be careful about how you interpret any bitrate graphs, especially when maximum bitrate is concerned. (That's the primary reason why we have not designed such a tool for our customers yet).
    Instead, and contrary to many other encoders, we have designed the bitrate control in BitVice in such a way that;
    1) The target bitrate that you choose (the average over the whole movie) is enforced, extremely accurately, usually less than 0.1%. I have seen files generated by other encoders which have been 200% off the desired bitrate, though. (To get the true average bitrate of an m2v file; divide its number of bits by its duration expressed in seconds. Then you'll see what I mean. Extremely simple math for a 12 year old kid, although the numbers may be big and therefore tend to have many digits in them;-))
    2) The "Ceiling" bitrate is NEVER exceeded, not even by one single bit/s. Now, frankly, if your bitrate graphing tool says something else, then it is telling you more about itself than about a file generated by BitVice.
    There is sort of a contract between encoder and decoder, like this, where X is the maximum bitrate:
    Decoder:
    "I promise you that I am able to read your video stream at X Mbps, or less, for as long as you wish."
    Encoder:
    "OK, then I promise you that my video stream would never need to be read any faster than X Mbps, at any time, and your buffer will never overflow or run dry. However, if your buffer is less than THIS big (the needed buffer size is written at the beginning of the stream, normally 1835008 bits or 224 kB), then you can as well stop already.
    I don't know how every other MPEG-2 encoder works in this respect, or if bitrate graphs could be of any help in evaluating them. The only thing I can promise is that with BitVice you can rely on its bitrate control to deliver what you asked for. You could use BitVice in your evaluation of different bitrate graphing utilities though, if you like.
    I'll stop here, because I sense that even those of you who have read this far may want me to;-), but, this topic is enough to fill one whole chapter of a book that I may never find the time to write.
    I realize that this post may seem controversial at first, so I'm prepared to follow up on any questions, suggestions or comments that you might have.
    Kindest
    Roger Andersson / Innobits AB, makers of BitVice MPEG-2 encoder for Mac
    PS.
    Of course, a decoder is assumed to completely stop reading (pulling) from disk whenever its buffer gets full, but then continues at full speed (maximum bitrate) again, whenever the buffer is NOT full.
    So the true bitrate graph, according to the decoders' view, is be very easy to recongize, becaue it will just alternate between two values, 0 Mbps and the max bitrate.
    Ds.

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  • Best Bit Rate for Better sound

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    Thanks for your help.
    PC   Windows XP  

    Monty, this is really going to be up to your ears to decide. All I can tell you is my experience during the 2+ years of owning an iPod. I initially thought AAC @ 128 was satisfactory. I then started experimenting with various bitrates, but kept the AAC format. I decided that 192 was a discernible improvement over the 128. Not to go into a lot of detail, but I, quite by accident, had one album download at 256 & thought, "Wow, this is unbelievably better sound, even over inexpensive computer speakers." At that point, I started importing everything in AAC @ 256 VBR which I feel is pretty darn close to CD quality sound. I have a 60GB iPod that I'm willing to sacrifice some capacity in order to ensure the best audio quality I can. This is also why I do not buy frequently from the iTunes store as I do not feel the 128 downloads are the best quality. I buy & my own CD's, now, to insure good quality. I will by the occasional song from the store when I do not care to buy the whole CD. Hope this helps!

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