The most important audio-related question in the world!

[Craig Alan]

[Chris Conlee] “In practice you always want to get the best signal to noise ratio you can. Get the microphone as close to the subject as humanly possible, and try to keep it pointed at the speaker’s mouth at all times. Eliminate all background noises that you can, such as refrigerators, etc. “

Yes to all. That is what I teach daily and repeatedly. Our sound devices mixers have quality limiters and I keep them enabled. Our CanonHV40s have only 16bit audio, The Panasonic HPX250s use AVC-Intra 100/50, DVCPRO HD, DVCPRO50: 48 kHz, 16-bit, 4-channel
DVCPRO/DV: 48 kHz, 16-bit, 2/4-channel switchable.

[Chris Conlee] “I think you can safely shoot for the low-yellow on your meter, which will probably be something like -20dB ish. “

We calibrate our cameras at 0 tone out mixer to -20 on our camcorders. So -20 levels is just touching the yellow on the mixer (0) and here’s where the debate begins. If you are suggesting 0 (mixer)/-20 (camcorder) levels as an upper limit, you are in the camp that suggests keeping the levels conservatively low. The other camp was suggesting in the yellow or just kissing the red zone which is +12 on the mixer and roughly -12 -6 on the camcorder (again depending on how much headroom you need). As a general rule I aim for a range between 0 +4 +8 on mixer which if calibrated to -20 on the camcorder should not hit the 0 on the camera.

So bottom line: is there anything wrong with the practice of recording as high as possible without clipping as opposed to recording safely lower levels and boosting in post when needed. My own practice is to aim for -12 on our HPX250s (+4ish on our SD 302s).

I do not prefer to use auto gain control on camcorders or built in limiters on camcorders. I really wish the camcorder companies would invest a little more in the audio components. Quieter preamps, 24 bit, better headphone amps and so forth. I’d bet prosumers would be willing to spend extra for a camcorder that had better sound built in. That said when miked correctly I am pretty happy with the sound we record on our panasonic cams.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Chris Conlee]

[Craig Alan] “So bottom line: is there anything wrong with the practice of recording as high as possible without clipping as opposed to recording safely lower levels and boosting in post when needed. My own practice is to aim for -12 on our HPX250s (+4ish on our SD 302s).”

I don’t think there is anything “wrong” with getting the meatiest signal you can possibly get. I think the camp which advocates on the conservative side does so only with protection in mind. I can’t think of a reason why low levels would be “better” than higher levels. Particularly since you’re recording at 16 bit, I would say the higher the level (without clipping) the better. You have much more latitude with 24 bit audio, in this regard.

Chris Conlee

[Craig Alan]

Thank you very much.

This has been very helpful.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.