Oddly enough I'm in an argument with Adobe right now. I believe CS6 defaults to 16-bit, and 32 is usually overkill. Phillip see what happens at 16 bit just for comparison. Looks like I'll have to stick the Premiere CS6 for a little longer. I however have literally thousands of hours of footage shot on my AVCHD Panasonic SD900, which I can't properly grade on Hitfilm. It's not something that will effect most DSLR users as most DSLRs don't record Superwhites and have the much better system of allowing flattened colour profiles. I bought Hitfilm as a replacement for my Premiere CS6 and wouldn't have spent the money on it, if I'd have known about this problem. Shame, as I feel it has a lot of promise and could knock Adobe off it's pedestal in time. I can see the recovered highlights and highlight detail on the Premiere graded footage and have not been able to achieve this on Hitfilm. It's not just the Waveforms that have proved this to me. You can clearly see it's clipped lower down on Hitfilm and that the extra (Superwhite) highlights are there in Premiere. Look closely at the shapes of the top of the waveforms. My point isn't really about how it's measured. 0 and 100 on Hitfilm and 0.3 and 1.0 on Premiere PAL video. As long as you know where your Solid Black and Full white lines are. Personally, I think the measurement system used on Waveforms isn't that important.
