Come behind the scenes with us where we showcase the audio quality of the DTRX mounted as a camera hop on the Canon C70 while using the included Deity W.Lav Pros!
This system really is great for the money. For me it's my first wireless system I own. I have used other systems like Sennheiser, Rode etc but this system really speaks to the workflow I want with wireless which is fast deployment with or without my audio bag near me all the time. I'm not going to say it was a "destined" purchase but it really was the best purchase for me, my budget and workflow. Now time will tell if it holds up for the next year or so.
Thanks for sharing @redjrjames! Smart thinking to see how a system can be powerful with or without the sound bag, you never know what kind of problem you'll need to solve on set! Cheers!
Michael Wynne, it would be interesting if someone tested third-party lav's on the Deity Theos. Sennheiser, DPA and Sanken are superior mic's with the same connectivity but will they work? Can you plug one of those in and see how it sounds?
Nice concise summary. Many nice and a few ground breaking features. As you said the app has smashed the glass on all other wireless apps. Seems perfect for camera mounted sound systems, but not bag use. That it does not have a compressor concerns me as I am used to old Lectro analog that has 30 dB of compression available on transmissions. I've never once heard clipping in 10 years of use (never heard an RF hit either).
Always really appreciate your insight Michael; thanks for taking the time to make these reviews. Do you think they'd work OK as a budget IFB? The manual hints that the receiver can output a headphone level signal but it's not super clear. Thanks again!!!
Hi Will, I appreciate that! As far as IFB, I did listen to the headphone out on the receiver, and things sounded good. The total output volume was a little low in comparison to my R1a’s and there was a little more of delay. Providing those two things aren’t limiting for the end-user. There should be no issue using it as an IFB.
With the receiver directly wired into the C70 did you actually still need the TC1 for timecode? Does the deity system not send/jam the timecode into the c70 itself along with the signal?
Hi @live2wanderproductions. Like most audio receivers it does not support time code, so you’ll need to use the TC-1 or another lockit device to feed TC to the camera.
still trying to figure out the best way to mount this system with the timecode gen on the c70... but still maintain my top handle for an easy rig. nice review :)
Thank you @MrMoviePhoneEx. Nice to see another C70 user here! Depending upon what your using your top shoe mount on your handle for you could do the configuration we use here which is a touch of bit soft side Velcro on the DTRX to attach the TC-1 providing it doesn’t interfere with your grip. Cheers!
I recently got the deity theos and i have some unanswered questions and confirmations. I'd be glad if you could help me out: 1. In the Workstation menu, i usually see one of my transmitters in a submenu called unallocated. Is that normal or i need to do something? 2. In the time code menu, the TC sync is grayed out till i change TC settings before i can sync, right? 3. Can the antennas on the receiver be repositioned by loosening the screw? Thank you!
Thanks for that review. How did you setup the gain staging for the C70. What dB did you dial on the TX and on the RX for your audio feed into the camera?
@Jimberjuniorlearning Great question, there are two Deity TC-1’s. One is running into the C70 TC BNC input and the other is running into a GH5 sending audio TC AUX into the audio input which can be converted to actual TC in the edit software.
It's interesting that at 7:25 you mention the gain staging but you haven't really tested it. Well I have and I can tell you that it has major issues exactly in this regard. The headroom is way to little, especially with the supplied lav mic, which is too hot for the ADC. I recorded a classical singer and the transmitter was set to zero gain and still the signal was constantly near the clipping point. There is a serious design flaw here and Deity needs to address this.
That may be the case for you, but for me the transmitter size, battery life, frequency options and signal robustness all all reasonable ranges are also very important!
It's not that it's not powerful it's that it's like buying a car that has a speed governor on it, sure your speedometer says you can do 200 but the governor won't let you do 50.
I can't believe we are still saying things like "jam the timecode"... audio should be baked in video with multiple tracks.. not just mono or left/right.. in 2024.. no more "syncing up" 🤷♂
You have a point, but there are two sides to the equation. I think on smaller projects that only have two channels of audio clients usually always prefer to have a quality audio mix to camera for tight turn arounds. Some entry level cinema camera like the C70 and FX9 also offer up to four channels for this workflow. Especially with tight turnarounds However on larger scale projects that are multi camera with multi channel poly files on a separate recorder time code jamming/sync is a must have which is a huge time saver in post and offers the ultimate in flexibility.
The advantages of running a double system faaaaaar outweigh the convenience of avoiding sync. There’s a reason that every film production does it that way.
