FAQ | Digital Media Perth, Armadale

These are our favourite settings for low light video (with relatively low noise) on the Hero4 Silver...

Resolution:	2.7K	allows for cropping with no effect on light.
Frames Per Second:	25	best for Australian 50Hz power supplies - avoids strobing.
Field of View:	Linear	No Fisheye
Spot Meter:	ON	Will set exposure with what is center of the frame.
Protune:	ON	Allow extra settings
White Balance:	Auto or 5500	Use 5500 if matching with other cameras - Average Daylight
Color:	GroPro Color	Use Flat to grade with other cameras
Shutter:	Auto
ISO Limit:	800	1600 will show more grain. 6400 is terrible
Sharpness:	Medium
EV Comp:	0.0	Exposure Compensation.

BenringerX32 Mixing EQ

Here are some EQ guidelines for mixing live performances of acoustic style instruments. Every gig is different and requires unique EQ settings - it depends on how large the band is, what instruments are playing, and making spaces for instruments/vocals to produce balanced and clear audio.

VOCAL MIXES

100 Hz and below:	Rumble: Mostly wind, mic-handling noise, stage/floor vibrations. Cut this out.
200 Hz	Boom: This frequency is usually where you'll find the "head cold" sound. The female voice may run a little higher, but this is the ballpark.
400Hz	Honk: Honky or Boxy sound. Sometimes you need to cut this slightly.
800 to 1,000 Hz	Word Clarity/Nasality: Not enough and intelligibility of some lyrics may be unintelligible, too much and you get the teacher from Peanuts
5,000 Hz	Presence: Use to lift the vocal above in the mix. Adds some energy, or some "buzz" to a vocal. Not enough, and the vocal may sound deflated, flat, and dull.
4,000 to 8,000 Hz	Sizzle/Sibilants: Typically this is the range a de-esser is handling – the "sss" sound. Male sibilance is typically 3-7k Hz and female sibilance is typically 5-9k Hz.
10,000 Hz and up	Air: Apply a light shelf boost here to open up the vocal a little.

BASS MIXES

40 to 80 Hz	Bottom: Especially with five-string variations, this is where the bottom resonances of most basses live
80 to 200 Hz	Fundamentals: The primary fundamental of the bass. Right around 180 to 200 Hz is where you can try to cut in on a bass that is too "boomy" to clean it up while preserving fundamentals
200 to 600 Hz	Overtones: These are the upper harmonics of most bass tones, depending on the sound you're interested in. Lift these for more tonal carlity/definition.
300 to 500 Hz	Wood: Particularly in upright basses, it's that distinctive, woody bark
800 to 1,600k Hz	Bite: The growl and attack of most basses can be either emphasized or toned down around here
2,000 to 5,000 Hz	String noise: Sound of the strings – normally cut this out.

KICK

40 to 60 Hz	Bottom: The tone of the reverberation in the shell, sometimes too rumbly, can be undefined/indeterminate depending on the mic'ing/speakers
60 to 100 Hz	Thump: The "punch you in the chest" range of the kick
100 to 200 Hz	Body: This is the "meat," if you will, of the kick sound
200 to 2,000 Hz	Ring: Typically cut these frequencies in a large band if you have issues with ringing and muddy sounds
2,000 to 4,000 Hz	Beater Attack: This is the range to look for the "thwack" sound of the beater, critical for getting that "basketball bouncing" kick sound

WHISTLES

150 Hz and Below	Rumble: Wind and breathe. Low shelf cut all this out.
3,000 Hz	This is the screaming baby frequency - feels like being poked in the ear canal with a chopstick. Generally cut this for those high piercing notes. Wider band, -10dB

VIOLIN

150 Hz and Below	Rumble: Usually can hear the body shell noise and bumps. Cut all this out.
450 Hz	Honk / Boxy: Might need to cut this. Narrow band – or you may lose the wood.
3,000 Hz	This is the screaming baby frequency - feels like being poked in the ear canal with a chopstick. Generally cut this for those high piercing notes. Wider band, -10dB

Feedback Frequencies

Feedback frequencies can vary depending on room acoustics and microphones. Its best to ring out your mics before the gig to find these exactly.

Generally you may need to cut 2,000 Hz and 4,000 Hz for the high end feedback. Sometimes you may need to cut the low end hum at 500Hz.

REF:

Photo credit: David Giga from his awesome X32 Mixing Station android app.
The Ultimate EQ Cheat Sheet for Every Common Instrument - Aaron Staniulis

Human eyes are far more sophisticated than video cameras. When you look at a white T-shirt outdoors, it looks white. In an office lit with fluorescent tubes, it still looks white. Even in your living room at night, it looks white. This is because your eye and brain will adjust for the changes in white colour temperature.

On the other hand, if a camera set for use indoors videos the T-shirt outdoors, it will look light blue. In an office the T-shirt will look light green. If the camera is set outdoors - a video of a white T-shirt under a regular living room light will look orange.

Cameras need to change their "white balance" depending on the type of light they are shooting in order for white to look truely white. What we are doing here is adjusting the combinations of red and blue in relationship with green signals coming from the camera sensor. The unit "K" is for temperature Kelvin.

GOPRO Hero4 Silver Best Low Light Settings

EQ Guidelines for Acoustic bands playing Live