Issue link: https://digital.copcomm.com/i/1455123
30 PRODUCTION SOUND & VIDEO – Spring 2022 32-BIT FLOAT AUDIO by James Delhauer To understand this relatively new technology, some context is needed. Digital audio is created by taking an analog signal and encoding it as a sequence of numerical samples using a method known as pulse-code modulation (PCM). Each sample represents the amplitude of the signal and individual samples are generated at even intervals so that they can be reassembled to create a facsimile of the original analog sound. A le's bit depth represents the number of bits of information present in each sample, with larger bit depths resulting in an improved signal-to-noise ratio and dynamic range. In practical terms, this means that a signal captured at a higher bit depth will contain less distortion and can be manipulated to a greater Having grown up at the precipice of the digital revolution, I sometimes step back and marvel at what has become possible in the last twenty years. Limitations have been toppled like empires and as technology has disseminated to the masses, the definition of cinematic has shifted. Gone are the days of practical matte paintings and model-based set extensions. Where a grandiose set piece might have consisted of a few hundred extras running alongside a series of well-timed special effects, it's now commonplace to see vast armies numbering in the tens of thousands clashing with one another or alien monsters tossing planets around like dodgeballs. The ante for what we see on screen has truly gone up over the years. But equally important are the developments for what we hear. Though not as obvious as the developments in cinematic visuals, digital audio technology has come just as far, and few innovations demonstrate this better than the rise of 32-bit float audio. degree than an identical signal captured at a lower bit depth. Traditional uncompressed 16-bit audio les (the format used to encode music onto audio CD's) store samples in a sequence with each sample being represented by a 16-digit binary number. The numerical value of this sequence represents a voltage level that corresponds to the signal amplitude, resulting in a dynamic range of 96.3 dB. 24-bit les (the format used most commonly in modern production environments) extend the binary number from 16 digits to 24 digits, resulting in a much greater dynamic range of 144.5 dB. This fty percent increase in audio resolution has often been compared to the leap from standard-de nition