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  1. I have been playing with ffmpeg to convert h.264 and h.265 to ProRes and DNxHD. I would like the audio of the ProRes / DNxHD file to be PCM, as PCM works best with the free edition of Davinci Resolve in Linux.

    All my source files are from these cameras:

    1) Gopro Hero 7, and Gopro Hero 6
    2) Panasonic DMC-G80 (DMC-G85)

    I plug an external shotgun microphone, and sometimes a Lav microphone into the 3.5mm jack on the Pansonic G80. For the Gopro cameras I just use the on camera audio.

    So with the above in mind, what setting should I use in ffmpeg? Should I use:

    1) -c:a pcm_s16le
    2) -c:a pcm_s24le

    Or do I use some other setting for PCM audio in ffmpeg?

    Sorry for the very basic question, but I'm not an audio guy!
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  2. Check which one works for you best - 24 bit is better than 16 bit thus i would try first pcm_s24le (later perhaps pcm_s24be) if this not work OK then try 16 bit..
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  3. Originally Posted by pandy View Post
    Check which one works for you best - 24 bit is better than 16 bit thus i would try first pcm_s24le (later perhaps pcm_s24be) if this not work OK then try 16 bit..
    I understand that but I doubt I can get 24bit out of the cameras. I think they may only record 16bit audio or lower??? So in this instance is there any point in choosing the 24bit option?
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  4. Originally Posted by david151 View Post
    Originally Posted by pandy View Post
    Check which one works for you best - 24 bit is better than 16 bit thus i would try first pcm_s24le (later perhaps pcm_s24be) if this not work OK then try 16 bit..
    I understand that but I doubt I can get 24bit out of the cameras. I think they may only record 16bit audio or lower??? So in this instance is there any point in choosing the 24bit option?
    16 bit is fine for storage and playout, for editing higher bit depth is recommended (i assume even for simple cut there is some form of fading, gradual attenuation). 16 bit should be (decent editor) at least dithered...
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