RRod
Headphoneus Supremus
- Joined
- Aug 25, 2014
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We have to be careful here, film sound and music in effect are two very different things, they have very different workflows and distribution chains. We don't apply noise shaped dither in film/TV products, due to considerable amounts of additional processing being required downstream, after the print-master is completed. For this reason distribution is always 24bit or a proprietary lossy compressed format, to avoid any build up of dither, truncation or noise-shaping artefacts. We can't therefore use the same comparison logic as we can with music because there is no 16bit consumer content out there in the film world, let alone a dominant 16bit format in which the application of noise-shaped dither has been standard practise for commercial release for nigh on 20 years.
G
Right. My comment was aimed at how you'd do a blind comparison of something like TrueHD versus a theoretical version of the same material delivered at 16-bits. It simply doesn't do to compare the multi-channel 24-bit track to the stereo 16-bit track and say "ah HA, 24 bits is better".
Maybe people recite back to you simply because they know better than you? Sorry to burst your bubble but just because we can select "24 bit" or "32 floating point" from a drop-down menu in our DAW during recording and mixing, doesn't mean the actual content uses 144 dB or comes even close to that. People who have been saying to you that "you have never heard music sound like that" are right, since such music doesn't exactly exist ... at least when it comes to commercial recordings and albums.
If someone actually made a 24-bit capable system I wouldn't get within a mile of the thing.