When we open the DAW, and create a multi-track mixdown session, we’re asked if we want 16 bit, 24 bit, or 32 bit-float. What’s the benefit of using a bit-rate that also uses “float” as an attribute of its processing?
What are the complications of sampling audio at a rate less than double that of the frequency maximum of any piece of audio?
Think for a moment about how we use Adobe Audition in a multi-track environment, and the complications that come from importing audio clips with different sample rates and different bit rates. Consider for a moment that when you do start a multi-track session, and import this audio, a conversion process takes place, creating copies of the audio clips that do not match the session’s settings. While this does provide you with files with the same sample rate and bit depth, there’s an inherent problem that happens here. What might this problem be? If the answer doesn’t immediately come to you, consider the conversion process, and what that truly means for each clip that undergoes the process.
Three different categories that ADR is done for in film: pure live action film ADR, pure animated film ADR, and a mixture of the two (Thanos in the live action Marvel movies). Provide one film per category and why you believed ADR was used for that particular movie.