I don’t know if mine is the best approach, but I deal with crappy audio in the first place.
(I shoot theater and live performances). Every audio track is split into left only and right only tracks. It’s not unusual for me to have four to eight audio tracks for one project. Every track is assigned a bus in the mixer. I set the track level to “soft limiter”, the bus levels to -3dB hard limiter, and the master to a -6dB hard limiter.
It works for me, and a little tweaking on the track envelopes when the talent is not projecting well (I bump up the level envelope on the mic closest to the talent). Sometimes I have to bring down the volume envelope if a mic track is going into the red on the meters. Having every track on its own bus helps me visualize the levels.
I’ve never used normalization since there are some quiet parts in the productions that I shoot.
Stephen Mann,
MannMade Digital Video,
San Jose, CA