Help! Delivering 32-bit float files to audio post

Hi.
We recorded our audio using 32-bit float.
It has the obvious advantage that it won't clip audio at loud volumes.
And DaVinci Resolve supports 32-bit float.

We synced the audio to the BRAW camera files within Davinci Resolve and edited.

Now we need to send audio to post-production, and we cannot find a way.

Normally there would be two options:

1. Send an Audio EDL that can be conformed by audio post-production
2. Export an AAF (or previously OMF) that could be loaded by the audio post-production department.

But neither of these options seem to work.

For option 1,
I cannot find a way to export an accurate audio EDL. Once you've synced your audio to your BRAW, it's considered part of your video file, and you can't unlink it back to the audio original.

For option 2,
The ProTools AAF export in the delivery window does not support 32-bit float export. If you export 32-bit integer, you're going to start clipping the audio.
(I tried reducing the volume levels in Fairlight before exporting the AAF, but it seems the export ignores audio levels)

It seems hard to believe that there's no way to do this.
32-bit float is becoming increasingly popular for obvious reasons.
And with no way to export - and no way to produce a reliable audio EDL, it is a serious problem.

Is there a workaround, or am I missing something?

Thanks

I wouldn't say Resolve supports 32 bit float. It allows it but it still only offers 30db of adjustment. 32 bit captures a range of about 1,500db. I can't imagine why they would possibly cap it at 30db.

Normally there would be two options:

I think you're missing a third perfectly valid option. Maybe even the overall best option.

Switch to the Faiglight page.

I wouldn't say Resolve supports 32 bit float. It allows it but it still only offers 30db of adjustment. 32 bit captures a range of about 1,500db. I can't imagine why they would possibly cap it at 30db.

No, they measure dynamic range at 6dB per bit. That means 32-bit audio (which is insane) would have a dynamic range of 192dB.

Benchmark Media: High Res Audio Bit-Depth
https://benchmarkmedia.com/blogs/applic ... -bit-depth

I would talk to your re-recording mixer before attempting to deliver 32 bit files. To my knowledge, every Film & TV sound house in LA will only work with 24-bit, 20-bit, or 16-bit files, and generally will only deliver 24 bit files. Also, talk to your distributor and see what they can and cannot accept.

32-bit float is different than 32-bit. That article is from 2015, and deals with traditional bits. Read about float here:

https://www.sounddevices.com/32-bit-flo ... explained/

1528dBs.


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One could compare 32-bit and 32-bit float to the straight and exponential notation of a calculator.

Just as exponential notation on a calculator allows representation of very large or very small numbers by adjusting the exponent, a 32-bit float can represent a wide range of values by adjusting its exponent.

Obviously as numbers grow larger or smaller in magnitude, the precision of their representation decreases, similar to how a calculator might only show a certain number of significant digits in exponential notation.

One option is to export OTIO and use CargoCult Matchbox to export an AAF or conform with EdiLoad.

Honestly, I would avoid AAF in modern workflows due to the complexity of format (and partly since implementations vary between hosts) and use OTIO where possible.