A bit of this; a bit of that…

[Philip Perkins]

And somehow, we successfully recorded lots of audio with wide dynamic range before 32 float....

 

When you say that "post will learn to deal with 32 float audio" or etc what this means is that the editors will let Adobe et al decide how to downconvert the audio

to 24/48 automatically without giving it a thought or any comparitive listening.  I hope you 32-users like what the NLEs do to your audio on its way to me at the mix.  My export spec (a contractual matter) specifies audio to be delivered to me at 24/48, and anything other has to be converted before they make the exports for me or I reject the export.  I mostly work on verite docs. 

[inspire]

I haven't done any work for Netflix and I don't care about it. I've never converted my 32-bit stuff and I'm not going to. If necessary, of course, it can be done. But why? Most devices today can handle 32-bit depth just fine.

[The Immoral Mr Teas]

And again with  "post will learn to deal with 32 float audio" 

 

Post has been dealing with 32-bit float for quite a while longer than it found its way into sound recording (indeed, more bits than just the 32 in matrix etc architecture).

Dealing with shit 32-bit recordings (particularly with few or no recording notes) coupled with short schedules and production who believe and quote (rather than understand) the crap however, well that's a steeper learning curve.

 

Jez

[Bouke]

What is all the fuzz?

From 32 to 24 is just simple math, deduct X from each sample, or if it's hot, X + a bit (no pun intended).

No quality loss.
 

Will it makes the life of a picture editor simpler? No. Editors want reasonable hot files, as most NLE's only give you a few dB of gain without jumping hoops.

It makes a huge difference on what kind of production you work on. For 99.9 percent of the work out there, even dual system sound is a PITA.