Apple Final Cut Pro 5 - Manual (Page 846)

Chapter 4 Audio Levels, Meters, and Output Channels 59
I
If you set the reference level of the Final Cut Pro floating audio meter to –20 dBFS, you
have nearly 20 dB of headroom, since 0 dBFS is the digital limit for the loudest sound. If
you set the reference level in your sequence to –12 dBFS instead, you have less
headroom. Even though the average level of your audio is higher, there won’t be as
much dynamic range.
How much dynamic range you allow in your audio mix depends on its ultimate
destination. If you’re editing a program for TV broadcast, a reference level of –12 dBFS is
fine, since you are only allowed 6 dB of dynamic range anyway. But if you’re working on
a production to be shown in movie theaters, consider using a reference level closer to
–18 or even –20 dBFS (both of these are frequently used standards).
Remember that the ultimate goal is to ensure that audio doesn’t peak over 0 dBFS in
your mix (as displayed in the Final Cut Pro audio meters) and won’t peak over +3 dB or
so on an analog meter.
Available headroom with
a reference level of –12 dBFS
- ∞
-66
-36
-24
-18
-12
-6
0
-48
Generic
VU meter
Final Cut Pro
audio meters
-30
-20
-10
-7
-4
-2
0
+2
+4
+7
6 dB of digital overhead does not equal
6 dB of analog overhead. It’s closer to
3 dB of analog overhead.
- ∞
-66
-36
-24
-18
-12
-6
0
-48