Ron Priest
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Jan 10, 2008, 3:11 AM
Post #5 of 8
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Re: [Mark Foley] What the heck do I set this to? (Zoom H4)
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Rendering already captured files is not that big of deal (very little hit on quality, if all...probably would never/ever be noticed unless your compared the signals on a scope). Rule of thumb...always record (capture) at the highest sampling rate/bit depth your recorder can do. This will ensure the most accurate digital reproduction. Once captured, then, in the case of FCP's crippled capability...hehe, for example), adjust for your timline. If your using Vegas Timothy, just drop it on the timeline and rock...
Well, looking into it further I was wrong in my understanding of FCP's ability to utilize 96 kHz. Apparently 96 kHz is not a limitation of FCP, but a limitation of DV itself. if my research is correct, 48 kHz is the standard audio configuration for DV. Does that mean DV is not capable of 96 kHz, I don't know that answer.
Final Cut Pro can in-fact import audio with any bit depth and sample rate supported by QuickTime and Mac OS X Core Audio (32 to 96 kHz and 8 to 24 bit). FCP performs real-time bit depth conversion and sample rate conversion when your audio file settings don't match your sequence settings. However, less processor power is required when your audio file settings and sequence settings match.
Is this how Vegas handles the Sample Rates? I know Premiere conforms each audio file to a 32-bit floating-point data at the projects sample rate upon importing the files into a project. All audio is conformed when it is imported, even audio tracks in video files. Apple on the other hand, suggests that when you import audio files you should insure their settings match your sequence settings. If they don't, you can still edit with them, but FCP does a real-time conversion on playback which can reduce your processors performance (apparently so it can convert your sample rate to match the sequence settings). So this is why I was wondering if it would be better to convert all audio to 48 kHz before importing them. But, that seems like a lot of extra work when FCP will do it automatically for you.
So, I guess I'll continue doing what I'm doing and capturing as you said, the highest possible settings 96 kHz 24 Bit and let FCP convert it upon playback or render.
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