The RØDECaster Video feels like merging the Blackmagic ATEM Mini Pro ISO with the RØDECaster Pro II, offering a unified solution that handles both video and audio production in one device. This aims to give you the benefits of both systems in a more compact and efficient setup. In this first-look review, let’s check if this wish can be realized.

Camera Input options

On the back of the RØDECaster Video, you find an impressive amount of in-and outputs. It features four HDMI inputs and two flexible multi-purpose USB-C ports (USB 4 and 5) that allow for connecting and switching between six video sources, including USB webcams. The two HDMI outputs are for connecting displays for monitoring and outputting your production, and you can select which video feed you want to send (Program, Preview or Multiview). 

Audio features

On the audio side, it features two studio-grade Neutrik combo jack Preamps with up to 76dB of Gain (you don’t need any signal booster or cloud lifter for powering low-output dynamic microphones that are often used for podcasts like a Shure SM7B) for capturing pristine audio from XLR microphones, instruments, and other audio equipment. In addition, you can use the two multi-purpose USB-C ports (USB 4 and 5) to connect RØDE USB audio devices such as the RØDECaster Pro II and Duo, as well as a range of RØDE USB microphones, including the NT-USB+, PodMic USB and more.

Unfortunately, only RØDE USB microphones are compatible here. Still, it’s the first interface that I know of that combines classic analog XLR inputs with the ability to add digital USB microphones as well. 

There’s onboard DSP (digital signal processing), too, so you’ve got compressors, noise gates, de-essers, and the Aural Exciter all at your fingertips, powered by APHEX. And if you want to monitor audio, there are two headphone outputs and two balanced 1/4-inch line outputs for speakers.

Other USB connectivity

Beyond the two multi-purpose USB-C ports, you’ve got three additional USB ports. USB 1 lets you send a live video stream along with multitrack audio. USB 2 is where you connect to the RØDE Central app to configure and control the device—it’s also an extra audio interface. Plus, it’s MFi-certified, which means you can hook up your iPhone or other smartphones to send and receive audio. USB 3 is reserved for external storage devices, like hard drives or thumb drives.

Recording and streaming capabilities

You can connect external hard drives to the RØDECaster Video, which supports Isolated Recording (ISO). This feature allows you to record each of the six video inputs separately, along with the program feed, as individual H.264/AVC files at up to 1080p30. However, unlike the ATEM Mini ISO, it doesn’t offer an XML or project file for direct import into an NLE for editing. Hopefully, RØDE will add this feature in a future update, because this is something that’s extremely convenient with the ATEM series (and a standard workflow we use on our weekly podcast production “Focus Check”.

The RØDECaster Video features a microSD card slot that can be used to store videos, images, graphics, and sounds.

Additionally, you have an Ethernet connection and WiFi ability with the two dedicated antennas on the back that allow you to control the device remotely but also enable the option to stream directly to YouTube or Twitch by adding the Server and Stream Key directly in the RØDECentral app without using any additional software as OBS or Streamlab.

Buttons and UI 

On the top, there’s a 2-inch touchscreen along with two rotary knobs for navigating menus and adjusting settings, like volume. You’ve got six buttons for switching between video sources and seven additional customizable scene buttons.

If you connect a display to the Program or Multiview output, you’ll get a full overview of your sources and audio levels. There’s also a handy recording window that shows if your recording is active and how much storage you’ve got left on your connected drive.

Summary

The RØDECaster Video is an all-in-one device for anyone looking to streamline their video and audio production. It combines a powerful video switcher with a full audio studio, offering high-quality preamps, multiple inputs and outputs, and advanced DSP processing—all in a single unit. It’s a very tightly packed, small device with a lot of capabilities, and we will continue to try it out in the weeks to come for a more detailed assessment.

Price and availability

The RØDECaster Video is available for $1199 and will be available exclusively through B&H at release.

What do you think about this combination? Have you ever used a RØDE audio product before? Let us know in the comments down below!

It’s been a while since I wrote about MusicLM from Google and MusicGen from Meta – the two biggest applications for AI music generation at the time. Testers of these tools were not happy back then. “Sounds horrible,” “melodies are random,” and “chord progressions don’t make any sense” – these are just a few comments I can remember.

However, AI training doesn’t stop. Roughly a year later, generated tracks are worlds apart from the results we got before. For one, artificial intelligence learned how to “sing.”

AI music generators: a huge leap

Before we unwrap new and popular tools, let’s take a look at already familiar ones. For instance, Google’s MusicLM model doesn’t exist anymore. Instead, developers listened to all the feedback so they were able to integrate and launch MusicFX. They still call it a “generative AI text-to-music experiment,” as it is their area of AI research and a tool in Beta phase.

MusicFX can produce tunes 30, 50, or 70 seconds in length. You only need to feed it a text description, and after analyzing your wording, the neural network will offer two variants. Personally, I was amazed by the quality of the resulting tracks (especially bearing in mind how horribly MusicLM’s attempts sounded just a year ago). Here’s an example:

What do you imagine when you hear the melody above? A wheat field lit by the tender rays of sunset? Maybe a sad-looking woman in a white dress, touching the grain as she wanders around? A slow melancholic scene from a period drama by Terrence Malick? These images occur in my head. However, my text prompt to MusicFX included nothing of the sort. On the contrary, it went: “A film score instrumental piece for a dark fantasy indie movie, featuring a fight scene between a witch and her hunter.”

So, yes, Google’s AI music generator didn’t provide anything close to my original request. At the same time, the created melody does sound consistent (at least, to my rookie ear) and ignites an emotional response. After some tests, it also became clear that this AI can generate better results when you use style terms (like “jazz”), include required instruments into your prompt (“drums,” “guitar,” “strings”), or rhythm (fast, slow, middle-paced).

You can try MusicFX for free here, and please let me know if you share my excitement (although, I’d better call it “afraidment,” as such AI advances always have a bitter aftertaste in the beginning).

Generated lyrics and vocals? No problem!

The rapid AI music development has gone even further, though. Here’s the mentioned CineD song that Nino brought to the office in its entirety:

This track was created by Udio, based solely on the text prompt: “A song about CineD, a filmmaking technology platform, pop song, indie.” No other settings, commands, or alterations needed. The neural network developed lyrics and included AI-generated vocals. It is indeed a radically simplified approach to music composing.

Udio’s team consists of ex-Google DeepMind researchers, so it doesn’t surprise me that they have enough expertise in AI training. Their tool gets frequent updates. For example, earlier in May, developers introduced the so-called “Inpainting” feature. It allows users to select a portion of a track to re-generate based on the surrounding context. This improvement should help to edit single vocal lines, correct errors, or smooth transitions. However, inpainting is currently available only for subscribers.

Another attempt at an AI-generated film score

Udio also has a free plan that grants users 10 credits/day with an additional 100 extra credits/month. (1 generation = 1 credit). That’s why I decided to try my luck in creating a dark fantasy score again, using the same prompt as with MusicFX earlier. Like Google’s AI, Udio generates simultaneously two various tracks, 32 seconds each. Here’s my favorite:

The deep-learning model gave my melody a title – “Witch Requiem” – and labeled it with mood specifications. In my case, the track was marked as “atmospheric” and “suspenseful,” although I didn’t use these words in the text input. What do you think? Much closer to the original idea, isn’t it? I wouldn’t use it for my “dirty fight with magic elements” scene though. The created score is too slow and epic for my taste.

If 32 seconds are not enough, you can always click on the “Extend” button, which offers users some level of control. For example, the app will let you decide when the extension should take place and whether you want to specify the text description for the new part.

Comparing popular AI music generators

For the sake of the experiment, I had to try out another AI music generator, which is quite popular nowadays and regularly pops up in my social media feed. It is called Suno, and its founding team also came from big tech companies (Meta, TikTok) before starting their own business.

Right off the bat, Suno has a very similar interface and workflow. It offers an almost identical basic free plan (50 credits that renew daily, which equals 10 songs) and also runs two jobs at once. On the other hand, the generated tracks are much longer (two minutes each), and overall, the tool works considerably faster than Udio.

In terms of quality and language understanding, I want you to be the judges with me. Here’s my preferred dark fantasy score for the fight between a witch and her hunter, generated by Suno:

Suno titled this track “Midnight Duel” and added a cover to it (possibly also AI-generated). I feel that the rhythm and orchestral work hit a bit closer to home, but still, this song reminds me more of a generic computer game than a cinematic experience. What would you say?

Of course, I also couldn’t resist making yet another CineD melody using Nino’s original prompt. What’s useful is that this AI model publishes the created lyrics directly on the same page. (By the way, both of these tools allow you to upload your own lyrics before the track generation).

If only it could get the pronunciation of “CineD” correct, I would give it a better mark than Udio! (Just kidding! I could have written “CineDee” in the prompt, as Nino did, so I shouldn’t blame AI). Somehow, I like Suno’s sound quality better.

Pros, cons, limitations

On the bright side, using AI music generators is fun, especially if you have always secretly dreamed of becoming a musician but never had the time or financial means for proper training. Additionally, it’s a fast way to have something melodic under your footage. (A previz, or the first rough cut, could be perfect areas of application for these tools). I also can imagine that in the long run, AI music generators could replace the tedious search process on stock music platforms. But first, AI developers would have to figure out the ethical dilemma we always talk about. (What footage were their neural networks trained on? Do those original musicians and composers get attribution or residuals? Can AI teams really provide commercial rights to their users?) As an example, Udio allows sharing the created content on social media, as long as you properly indicate that it was AI-generated and what tool you used.

Other negatives and limitations:

• The discussed tools do not give us enough creative control over the output. For instance, I can’t ask Suno to use a male voice instead of a female or to avoid violins at all costs. At least for now.
• As we’ve seen above, the results do not always follow your initial request. Sometimes, the created melodies sound too generic. Other times, they might completely miss the required mood. It’s not like working with a professional composer who feels the story, has a personal style or sonic vision, and can implement all your wishes to the score.
• Also, AI for sure won’t come up with an idea to incorporate the recordings of real power plant sounds into the score of “Chernobyl.”

Some alternative approaches

Naturally, it’s impossible to try out ALL the AI tools that are thriving in an already fully-packed market. I must mention that there are other approaches to generating melodies other than text-to-music models. Here’s a bunch of examples, if you want to try out something different:

• Soundraw. This browser-based application doesn’t accept text prompts, but it offers you much more control over melodic parts and even allows users to upload the video preview (in case, you want to create a suitable soundtrack).
• Boomy. In this AI music generator, you can choose particular instruments, rearrange specific sections, precisely change the tempo of your melody, and add your or AI voice. However, as hard as I tried, I couldn’t make it sound better than cacophony. Probably, I lack the talent in general, so please, give it another go for me and share your insights afterwards.
• Loudly. This model is user-friendly and flexible, offering to tweak countless settings before it generates a song. Loudly generates no vocals or lyrics so far, but the created melody sounds more interesting than all my previous attempts.

The future of film music

I think the discussion in the comments is inevitable. When it comes to AI, we all wonder whether it will become the future of creative processes compared to how we think of them now. In my opinion (and hopefully, not only mine), human value is still what is scarce. If everyone can make it, then it won’t be that valuable. So, it’s not the AI that is going to replace us; it is creators with original ideas who know how to implement AI tools into their workflows.

And what do you think? Have you tried AI music generators? Are there any ones you particularly like that I didn’t mention? In what cases would you go for AI-generated music instead of buying human-composed pieces? Let’s talk in the comments below!

Feature image source: generated with Midjourney for CineD.

It may have been the combination of the writers’ strike (now SAG as well) and being onboarded for several smaller crew shoots, but I used the EW-DP system a lot. For past reviews, I made a point of taking a piece of kit on two or three shoots before I felt comfortable passing along my thoughts. For this review, the EW-DP stayed with me for two separate documentary shoots in Hawaii and commercial projects in Chicago, Santa Monica, San Diego, and Los Angles over the course of two months. I also recorded several lighting reviews using the EW-DP for CineD.com (See my Nanlux 900C, Aladdin Mosaic, and amaran 150C reviews). In short, I put some hours into this thing.

I will be the first to admit that I’m not an audio professional. I work primarily as a Director of Photography, Producer, and sometimes Director in the scripted, documentary, and commercial space. Before you click away from this page in a huff, I think I might be the perfect user for Sennheiser’s digital systems like the AVX and the new EW-DP. Several times in the past few months, I felt this kit was designed specifically for my workflow.

If you are an audio professional with thousands of dollars already invested in UHF wireless audio, this review may not be for you. But if you are a run-and-gun documentary filmmaker, online creator, journalist, or solo op, I encourage you to stick around for the next few hundred words. The EW-DP is meant for you.

First, let’s take a quick look at the advertised banner EW-DP specs:

• Number of RF Channel Frequences: 2240
• RF Frequency Band: 470 to 526 Mhz
• Advertised Max Operating Range: 328.1′
• Max Transmitters Per Band: 58
• Sample Rate/Resolution: 24-Bit
• Dynamic Range: 134db
• Latency: 1.9ms
• Bluetooth Control

For this review, I used the following two kits:

• Sennheiser EW-DP ME 2 SET Camera-Mount Digital Wireless Omni Lavalier Mic System (Q1-6: 470 to 526 MHz) – Cost: $699.00
• Sennheiser EW-DP 835 SET Camera-Mount Digital Wireless Handheld Microphone System (Q1-6: 470 to 526 MHz) – Cost: $699.00

Note: This review has been updated as of May 16th, 2024 with my thoughts on the EW-DP SKP Plug-on transmitter as well!

Sennheiser AVX or EW-DP?

I’m a longtime user of Sennheiser’s AVX system. Most recently, I used that plug-and-play 1.9 GHz 1:1 system on a BBC Two documentary, and before that, while solo filming the Artemis 1 NASA Recovery for Smithsonian/Paramount+.

You can see the signature blue end piece of the AVX receiver in the image below hanging off the rear XLR port of the Canon C300MKIII.

During the Smithsonian project while aboard the USS Portland, located off the coast of Baja, there were definitely moments when I loved the AVX system. There were also moments when I needed the flexibility to find a better channel in a challenging wireless environment surrounded by NASA and Navy equipment and all manner of sensors.

When my AVX system hit too much interference, the audio transmission momentarily dropped out, and the fact that there was an issue was immediately apparent. This heads-up was helpful because I could have the contributor restate an answer or know that I should move closer to the subject. I also found that mounting the AVX Receiver directly at the top of the camera versus into the XLR port improved things by giving a better line of sight between transmitter and receiver. However, know that the drawback of this configuration is that it no longer provides the minimalist rigging of having the receiver in the XLR port.

I found that to achieve the advertised 98′ range of the AVX system conditions had to be perfect (i.e., the middle of a flat field away from an urban environment). That never bothered me because I’m often close to documentary subjects who are mic’d up. Here’s another area where dedicated audio mixers scanning for the best UHF frequencies can achieve a much better and more reliable range. As for me, I’m not always able to take an audio professional into the field with me. In the case of the Artemis 1 recovery, there literally wasn’t enough space onboard. Also, in the work I do, safety considerations often increase with the size of the crew.

Why go for the Sennheiser AVX over the EW-DP system? Depending on the situation, you may decide to use both, as I do. Indeed, Sennheiser doesn’t look at the EW-DP system as a replacement for the AVX. Each is still available, and the newer UHF-based EW-DP system actually comes in $100 cheaper when compared to the $799 1.9 GHz AVX-ME2 set (August 2023 pricing).

I asked Sennheiser about where they feel the EW-DP sits when compared to the AVX system, and Robb Blumenreder, Insights Manager on the Pro Audio team at Sennheiser, responded with the following:

“While there are quite a few technical differences between AVX (1.9 GHz DECT band) and EW-DP (Digital UHF), choosing the right system for you starts with how involved you want to be with your audio workflow. AVX is the wireless audio equivalent of shooting in “Auto Mode”. You’ll get great results with a system that has the plug & play convenience of 2.4 GHz wireless but with a much more reliable transmission scheme and feature set designed for professional applications. AVX will automatically configure everything from frequency to gain settings, and even power management, but the trade-off for that convenience is a lack of manual control, as well as some added latency (19 ms) as the system runs through all the automatic elements under the hood. AVX has found a home in many applications but works particularly well for video journalists, broadcasters, and users that don’t really want to dive into their audio signal path, but still need high-quality, professional results they can rely on.

That said, when it comes to wireless technology, UHF is the standard by which all other wireless systems are measured. It’s the choice of professionals for good reason – it gives you the most flexibility, reliability, and control. Plain and simple: if you’re getting paid for your work, your gear needs to be able to adapt and overcome any environmental challenges you may encounter. With EW-DP, we’re breaking new ground for users and giving them features that get the technology out of the way of their craft while providing complete control over their wireless system. EW-DP is the ideal choice if you’re working in harsh or congested RF environments, have a need for higher channel counts, and you’d benefit from having flexible transmitter options like the EW-D SKP Plug-on Transmitter. Between the two systems, EW-DP is more capable and configurable, which can ultimately provide you with higher-quality audio for your content. Regardless of your choice, both AVX and EW-DP can give you excellent results, so depending on your personal needs and desire to dive into your audio workflow, one or the other may be more appropriate for you.”

Okay, distilling down Robb’s comment here — yes, the “Auto Mode” of the AVX system still has its advantages. I’ve filmed documentary scenes with rough audio in situations where there is violence or physical confrontation, and I can promise you that in these moments, I’m more concerned about the safety of the crew than I am about checking to see if I’ve occasionally clipped my audio levels. In those moments, the AVX has my back (especially with proximity and a solid line of sight). For a highly controlled interview, I’m going to rely on an audio professional with their UHF kit, or I’m going to reach for the EW-DP system myself because I have the time to tune everything in the prep hours before the contributor or talent arrives on set. But, if the talent comes early, I can still rely on the auto-scanning and fast-pairing-sync capability of the EW-DP.

Robb also touches on the fact that the EW-DP system is already getting a greater number of new accessories compared to the AVX. For example, he specifically comments on the Sennheiser EW-DP SKP Digital Plug-On Wireless Transmitter/Recorder and I recently (article is updated as of May, 2024) had the opportunity to give the EW-DP SKP transmitter and recorder a try alongside the formidable MKH 416 Shotgun mic that is an industry workhorse in its own right.

The versatile cube that is the EW-DP SKP is cross compatible with everything under the “Evolution Wireless Digital” umbrella and that includes EW-D, EW-DX and EW-DP. Banner features include the ability to record internally via microSD card and the option to use either XLR (female) and 3.5mm inputs.

I immediately placed the EW-DP SKP alongside the MKH 416 shotgun mic directly onto a two month production filming in Los Angeles primarily on a soundstage environment and it worked perfectly alongside the EW-DP lav units we used on the production.

You also have the option to feed 48v power with the EW-DP SKP and that makes it useful as a power source for a wireless boom setup to avoid dragging XLR cables around your set. Your microSD files provide you with extra redundancy in the case of signal dropouts and everything is controlled through the ‘Smart Assist’ app that I’ll touch on in a moment.

Accessories/Mounting the EW-DP

The EW-DP receiver is obviously several times larger than the AVX receiver, and with that size increase comes the need for unique mounting options. Thankfully, Sennheiser has taken a page from the camera accessory playbook and now has an included magnet mounting plate for the receiver, which offers a variety of mounting points. You can also use the single 1/4″-20 thread at the receiver’s base and forgo the magnetic plate option.

The plate affixes to the magnetic points at the base of the receiver. From there, you can mount the receiver anywhere or use the included cold shoe mount with a clever twisting locking mechanism, or come up with your own solution using the variety of available threads. This mounting plate, in general, works well. However, after a recent slide down a hill in the rainforest, I found the receiver popped off, and some mud got in the grooves around the four corner magnets. The result was that the plate failed to adhere securely to the receiver, and I had to carefully clean the grooves around the magnets before I could continue filming. Something to be aware of – or you could simply not be clumsy like me and avoid sliding down muddy hills!

Those same magnetic points also allow you to stack receiver units one on top of the other without additional tools. Though I think this is generally a good idea, if you stack receivers, you risk your camera height getting too high for comfort, potentially hitting door frames, or becoming less portable on a run-and-gun project. Obviously, this is dependent on the camera body you’re using. This vertical height issue may be more a function of the fact that my preferred doc camera is the Canon C300MKIII and its vertical design, and that’s less of an EW-DP design concern.

If you wish to forgo the cold shoe option, Sennheiser includes a belt clip that clips to the magnetic plate for use in a mixer bag of your choice.

The EW-DP kit also includes both a 3.5 mm locking cable and a 3.5 mm to XLR cable. For this review, I primarily worked with the Sennheiser ME 2 Omnidirectional Lavalier Mic, although I also tried the system out with a Sanken COS-11D lav. You can purchase the EW-DP kit with a Sennheiser ME 4 Cardioid Lavalier Microphone optimized for live event applications.

The app

You will want to download the “Smart Assist” app (available for iOS or Android users) to use in conjunction with your EW-DP kit right off the bat. Upon pairing my first transmitter and receiver, I was immediately hit with an update firmware notification – easily done directly over Bluetooth while taking care to keep the device in proximity to the TX/RX. Remember, you can only update one receiver or transmitter at a time – no bulk updating here.

The app has a “guide” setting that makes it abundantly clear what you should be doing at any given moment. Here I’m being given help with pairing, for example. Feel confident with the EW-DP kit and want to turn off the guide? Simply press the button on the upper right.

You can only have 16 total receivers on the dashboard in the app at a given time — which may or may not be a problem depending on the type of shoot you’re working on. You can receive real-time feedback on battery life. For example, I’m being told in the next image that the top unit is powered off of USB-C and the battery life per unit.

On my iOS device, I needed to “forget” a receiver at one point so I could concentrate on a single receiver in play — which meant jumping out of the app and heading to my Bluetooth settings to find the right device. Leaving the app was momentarily annoying, but this may be more of a function of how my iPhone works and less a reflection on the app itself.

I’ll be interested to see how often I use the app over time versus the receiver-side menu. I found the onboard menu to be very intuitive and easy to use, but having the option to use my phone is generally very nice, and being able to see the transmitter battery life without fiddling with the transmitter pack is a helpful touch. In short, sometimes I feel like I must have the app to get full functionality out of a given device, so the app integration in the EW-DP systems feels like a valuable tool on those occasions.

Powering

The power options with the EW-DP are flexible, and you can use either rechargeable lithium-ion or AA battery solutions for the hand mic, bodypack transmitter, and receiver. Either option works well in practice, though rechargeable would be the more environmentally friendly option in the long run.

Sennheiser made a great engineering decision with the EW-DP when they designed the same BA 70 rechargeable battery pack to work with the receiver and the transmitter. In the case of the other AVX system, the rechargeable batteries are each very different (likely a necessity of the receiver being so small), and thus you are forced to purchase a few of each type to get you through the day.

Over several seven-hour shoot days, the BA batteries performed as advertised. Still, I would suggest purchasing one backup BA 70 battery at minimum or having AAs on hand. You can charge a BA 70 battery by plugging the receiver directly into the wall through USB-C, but Sennheiser makes a dedicated dual charger (called the L 70) that feels like a must-buy accessory to me.

Final thoughts

This review is primarily dedicated to the EW-DP lav system and less so for the handheld mic system simply because I received the handheld system later in the review process and post Cinegear and NAB (two shows where CineD uses handheld mics almost exclusively to isolate the voice away from show floor noise). We’ll make sure to put the EW-DP handheld mic system through the paces on a show floor in the future, and I’ll update this post with those thoughts.

The wireless lav system with integrated windscreen isolates the talent voice very well, and a range improvement can be expected with a UHF system versus the AVX. For a producer/shooter, journalist, or DP in the jungle (like me), this is the audio kit to consider.

There are all sorts of quality-of-life design ideas here — everything from stackable magnetic mounts to locking connectors. The receiver even warns you when the transmitter is muted. It’s the little things that make set life easier.

Sennheiser has also done a solid job walking the line with the EW-DP by providing just the right amount of options and enough control to provide peace of mind in any interference-heavy environment.

We want to hear from you! Are you a previous Sennheiser AVX user? Have you had a chance to try out the EW-DP yet? Let us know in the comments below!

Hollyland is a Chinese company specializing in manufacturing wireless video transmissions solutions like the Cosmo, Syscom, and Mars families, Intercom systems (Solidcam, Mars, Syscom), cameras (Arocam/Live Streaming Camera), and Wireless Microphone Systems, where the new LARK MAX fits in perfectly.

The LARK MAX will be sold in two configurations – the “LARK MAX duo” consists of a receiver and dual mic/recorders (priced at $299), and the “LARK MAX solo”, which will come, as the name suggests, with a single mic/recorder next to the receiver and will be priced at $199. Looking at those prices, it seems as if they were designed to combat the popular DJI Mic, and at an even more affordable price.

All-In-One Wireless Lavalier Microphone System’s main selling points

In such a saturated market, you might well ask what the main selling points for any company with this kind of product might be. Well, at least for Hollyland, the answer is clear, and this is what they came up with in their latest device:

Audio quality: This is an essential point to start with. I’m happy to report that the sound coming out of the new LARX MAX when using the mic/recorder is very nice! It is rich, lifelike, and very pleasant to listen to.

External microphone input: The option to enhance recording quality by connecting external lavaliers of your choice is an essential feature. I would dare say that if this feature was not available, I’d skip the device altogether.

Internal Recording: I can’t stress enough how important this feature actually is. Once you’ve been exposed to it, there is no going back. This feature makes so much sense for a wide range of film projects, like weddings and documentaries just to name a few. With internal audio recording implemented in your device, you no longer need to worry about interruptions, audio cuts, or sudden camera recording stops. Even in such instances, the audio is securely stored within the device itself, so the audio is not lost.

Safety Track Recording: As long as companies do not implement a 32-bit float recording option in their devices (In this price range) this is one of the preferred ways to avoid “sound recording disasters” like audio clipping.

The true meaning of a “safety recording track” is a duplication of the recorded main track but at a lower level. With the LARK MAX, currently, it is not possible to simultaneously record two audio channels on the mic/recorder itself, (like main and sub with lower dB), so the way it is working now, it is the receiver that is sending two separate mono channels to the camera itself with one being -6dB lower.

I truly hope that Hollyland can look into this and enable Safety Track recording within the mic/recorder itself.

(Internal) Auto Record Start option: Personally, I’ve adopted to ALWAYS work with such a feature if the product allows it. For example, when working on an interview set-up or following an interviewee, there is always a certain element of stress, especially when working in a “one-man band” style. This means that filming, lighting, and audio recording are all being done by a single person, and if there is a feature that can help to reduce the risk of something going wrong, I’ll snag it. Auto Record Start is doing just that. It ensures that another audio file will always be recorded as soon as you take the mic out of the charging box.

environmental noise cancellation (ENC): Not to be confused with Active Noise Cancelation (ANC), this sound processing technique is used to reduce or eliminate unwanted sounds from the surrounding environment more naturally.

I have mixed emotions about this feature and let me cut right to my conclusion. This ENC thing will work well as long as you are trying to combat fan, hiss, or air-conditioning noise. If you were to place it in a more demanding and noisy environment, such as inside a train or near a working engine, you would seriously jeopardize the quality of your voice recordings.

Compact in size, long capacity storage and battery life, easy control, and file management: The last thing I want to do while filming and recording audio is to dive into the menu of my audio device and spend too much time “digging around”. I want it to be “straightforward, easy to use, and able to monitor changes in audio in “real-time”. I don’t want to constantly check the charge on the device and be concerned about the audio storage capacity.

In this regard, there are only two buttons to fiddle with. One is “touch” and the other is a physical push button. Taking a few minutes to understand how they operate will save you A LOT of time on location and it’s very straightforward.

If you are worried about “recording storage space”, or “battery life”, rest assured that with its 8GB of internal memory and a relatively high-capacity battery, the LARK MAX won’t “just stop recording”.

Unlike some devices on the market, there is no need for an additional App to explore the recorder and check for the audio files. After connecting it to the computer, it will be recognized as an “external device” so files can be retrieved easily and directly.

As you can see, I’m happy to report that the new Hollyland LARK MAX ticks all the selling points and, in many cases, exceeds expectations admirably. While there is always room for improvement, it is a great starting point and more for anyone considering such a device.

The competition

As mentioned earlier, the market for wireless Lavalier microphone audio systems has experienced significant growth in recent years and has become highly saturated. There are (so) many companies out there, but it is safe to say that at a certain price range, DJI Mic (our preferred device so far) and RØDE with their Wireless GO II are most probably the ones to take the lead. Speaking of which, I’m really wondering what RØDE’s next move will be to keep a lead with their GO devices. Will it be a 32-bit internal recording? (In the above image we added a Comica mic for size illustration).

Each of those systems has its uniqueness, but Hollyland and its LARK MAX system are doing a great job of combining many of the useful features found in both devices and delivering them in a single, cost-effective package.

Hollyland LARK MAX

Packaging:

More often than not, I am astonished by the remarkable efforts made by many Chinese companies in our industry when it comes to packaging their products. In today’s competitive market, it is almost a must (or should I say a “given”), but if you recall, not so long ago this was not the situation. In this regard, Hollyland is no different. Holding the box of this new All-In-One Wireless Lavalier Microphone system feels as if you just got yourself a new iPhone. When you open the (magnetic) box, you will find a robust case inside – one that will accommodate EVERYTHING you need to take with you on the go. Inside this case, you will find the charging case that houses a single receiver and two microphones/recorders, along with an assortment of cables (which we will discuss in more detail later) and two windshields. These fit perfectly well with each of the microphones/recorders thanks to a clever design. (Make sure the two rubber parts are placed in the mic dedicated space).

One remark on packaging: In my opinion, Hollyland is using too much plastic to protect the devices and their charging connectors. I hope that the company can explore more environmentally-friendly packaging options in the future, reducing the use of small plastic foils whenever possible.

Setup:

As a general guideline, when recording audio directly to the camera, it is advisable to set the camera input levels on the lower end. Some mirrorless cameras have better audio preamps than others, but to ensure better audio recording quality, this is a good tip! (In my test, I lowered the camera input on the FUJIFILM X-S20 to -22db)

Assuming that you have already charged the case, upon opening it, the single receiver (RX) and two mic/recorders will “smile at you” indicating they are ready to be used. The receiver will show all three components’ battery charging levels next to the charging level of the case itself.

Remove the receiver from the charging case and there will be an indication for:

• Audio recording mode (S for stereo, M for mono, and ST for safety track).

• Connection to the mic/recorders indication

• Microphone recording levels

On the mic/recorders, look for a solid blue light to indicate that they are paired with the receiver and are ready to be used (without Noise Reduction applied).

From that point onwards, it becomes a matter of mix-and-match settings, depending on your specific goals and what you want to achieve.

In the field

I recently shot a mini-documentary testing a new set of lenses (tune in for the announcement date on July 3rd). Next to the “straightforward” main interview, I was recording lots of live music. The energetic Brazilian band consisted of four talented people using instruments that sounded beautiful together, but very loud! When I first heard them singing and drumming, I had concerns about potential audio clipping or the system’s ability to level the audio effectively. I opted to select the two lead singers and attached the microphones/recorders to them, and then took extra care in controlling the receiver output to the camera, ensuring optimal audio quality. I also made sure that the mic levels were not too high to avoid clipping at the beginning of the recording chain. In the end, and to my relief, the new Hollyland All-In-One wireless Lavalier mic coped very well.

Note: the audio levels seen on the receiver AMOLED touchscreen represent the levels of the mic/recorders. When you get those right, you can proceed further down the chain and utilize the main rotating knob to control the signal output level to the camera. (Both mic/recorders can be controlled separately). Then, if the audio levels on your camera are too high, slowly decrease the camera mic volume until you get nice, clean audio.

Another small but important plus for the system is the strength of the supplied magnets. These are truly impressive and worth writing home about. In my mini-documentary, I dealt with enthusiastic Capoeira instructors, and they are really like small kids constantly on the move (in a positive way of course). Bottom line, I ended the two days of filming without losing either of the two magnets and I know from experience that this is not always the case…

Things to like

• Audio quality. Very convincing sound quality for the price! We all know how bad the letter “S” can sound on some systems. On this one, it is surprisingly good!

• Quick setting lock/unlock is possible with a short button press.

• Very strong magnets made for attaching the mics inside a shirt for a smaller “mic footprint”.

• Noise reduction quality: Strangely enough (or not), my remark here is on the positive side, but it belongs below in the “what can be enhanced” paragraph, too. Please allow me to explain:

As mentioned earlier in this review, when dealing with “constant” noise, the noise reduction functionality performs very well. However, I’ve yet to see a noise reduction solution that works flawlessly in all situations. It seems that all those NR chips have a specific “sound stamp” built into them to reduce specific noise without the ability to “learn the noise” and isolate it properly.

• The assortment of cables included in the package provides everything you need to get started. These include a 3.5mm to 3.5mm cable (for connecting the receiver to the camera), USB-C to USB-A cable, USB-C to USB-C cable, and USB-C to Lightning cable. It’s worth noting that this audio system can be connected to your phone and even controlled through the Hollyland App. However, at the time of writing this review, the App did not support the new LARK MAX, and therefore, it was not tested.

• Transmission strength is solid as long as you keep your eyesight with the camera (receiver). I was about 100 meters away from the camera and as long as I saw it, the recording quality was fine.

What can be enhanced?

• When filming outdoors in bright sunlight, the small blue/green indicator and the separate red indicator on the mic/recorder are useless. It is simply very difficult to see if those are activated or not. Almost the same can be said about the receiver itself although not to the same degree. The AMOLED touch screen remains visible, but efforts should be made to improve the readability of the information displayed on it.

• Either when pressing the REC button or when starting to record automatically, I would have appreciated a “physical sign” that recording had actually begun. With DJI Mic you have that short vibration as an indication. It is not available on this device.

• Like with DJI Mic, to my taste, the internal audio recording levels of the mic/recorder itself are too low. I wish there was a way to record internally a bit on higher levels.

• Back to noise cancellation, this can be applied to both mic/recorders only. There is no way to choose only one device and leave the other without this setting.

Conclusion

The new LARK MAX confidently goes head-to-head with the DJI Mic, without any sense of inferiority, matching it eye to eye in terms of performance and capabilities. Its overall sound quality is very nice and “rounded”. Between DJI Mic, RØDE Wireless GO II, and LARK MAX, the Hollyland is my winner. The kit seems to be complete with two mic/recorders and a variety of useful features. Operating the mics, in general, is straightforward. On the downside, it would be preferable if both the main and safety tracks could be recorded as separate channels within the mic/recorder itself, rather than the current setup where the safety track is recorded in the mic/recorder while the main track is outputted to an external camera for recording.

Do you have experience working with Hollyland audio devices? Does this new LARK MAX sound like a good option for your productions? Please share your thoughts with us in the comment section below.

We’ve covered trade shows for way over a decade – actually, we started around 2008. Shooting interviews about new products on the show floor always proved difficult on various levels: Hoards of people walking through your image on crowded show floors, mixed lighting conditions, and a lot of light pollution from other booths that are often demo-ing lighting equipment.

Trade shows = audio recording problems

On the audio side, we often had even worse problems in the past: lots of surrounding noise from people talking next to you, the occasional music in the background, and often wireless connectivity issues because of Wifi and general airwave congestion – which, by the way, is the worst, because you will literally be stuck with no usable audio unless you brought another wireless solution that works on other frequency bands, or simply a wired microphone solution. 

The main choice for show floor videos: hand mics

We generally use hand mics for gear interviews on the show floor. They are easy and flexible when we are moving from booth to booth shooting videos about new gear. Generally, they pick up less surrounding noise than lavalier mics.

Sony UWP-D22 microphone provided much better audio quality

So, after our long odyssey with wireless handheld microphone solutions from different manufacturers over the years, which “kind of” worked but with mediocre audio quality, background noise, and interference, we recently tested Sony’s UWP-D22 wireless handheld microphone. We were stunned by the exceptional audio quality it delivered, so we contacted Sony to loan us two sets for our NAB 2023 coverage. It proved to be the best decision. 

It almost didn’t matter where we were standing doing interviews, the audio always sounded great. I’m not a sound or audio expert, but as a DP I have to say that it sounded quite dry, almost studio-like, and clearly optimized for voice recordings while shutting out surrounding noise that was not in the vicinity of the hand mic. It’s not a close mic, so you don’t have to hold it super close to your mouth or nearly press it against your lips, which is also very unhygienic when interviewing various people throughout the day. When we held it at a standard distance, the Sony UWP-D22 worked flawlessly, making it absolutely ideal for our specific use case.

Wireless connection with Sony cameras, one receiver for two senders with the UWP-D27

We also had the set with two wireless lavalier mics and transmitters (Sony UWP-D27), which we only used once or twice for sit-down interviews. It’s super convenient that there is only one receiver for two lavs, which of course makes it easy to work with mirrorless cameras, mounting the receiver on top and connecting it straight to the camera with a mini jack cable. 

At this year’s NAB, we were working with FUJIFILM cameras because we used their camera-to-cloud workflow (watch our behind-the-scenes documentary about that here in case you haven’t seen it yet). But if you are using a Sony Alpha or FX-series camera, the smart hotshoe connection eliminates the need for a cable. Simply plug the Sony UWP-D22 receiver into the camera’s top, and you’ll have a seamless audio connection between the receiver and the camera.

Almost no interference

We never had any interference issues the Sony UWP-D22 microphones on the show floor, which is a rarity. With so many devices transmitting on various wavelengths across the entire Las Vegas Convention Center during NAB, it means there are a few dropouts every now and then. We didn’t experience it in any of the halls where all the booths and most of the people were. We ran into an issue only once, inside the press room. We realized that one of our two UWP-D22 sets caused interference with the other set when the second one was turned on while the first one was already in operation. Shutting one of them off solved the problem immediately, but it’s something to be aware of. I’m sure it is possible to avoid the situation by manually choosing the frequency instead, but we didn’t dive into that. 

Battery hungry solution

If there is one small downside to the Sony UWP-D22 microphone system, it’s that they are relatively power-hungry. Be aware that you should take enough replacement AA batteries with you on a shoot when using this system. However, rechargeable AA batteries work really well with it, if you want to be more environmentally-conscious. In general, I am also quite happy they don’t use a proprietary battery solution for the UWP-D22 system. It means that it’s super flexible and is immediately ready to operate continuously anywhere in the world, independent of any AC power connections. 

Audio problem for future trade shows solved

In conclusion, the Sony UWP-D22 will remain our reliable go-to solution for any future trade shows. We like the quality of the sound in comparison to all other solutions we tested – it’s clear, voices sound exceptionally full, surrounding noise is cancelled out well, and the wireless connection is robust and relatively interference-free. 

What is the wireless audio solution of your choice that you trust? And why? Let us know in the comments below. 

Comica was kind enough to send us their new wireless microphone system, the Vimo C, and in all honesty, the first thing that I did, was to check if it has an external microphone input, which it doesn’t.

Yet, as a professional content creator, I had the urge to break my own working routine and see if there is any justification for working with a product that comes “as is” and is very simple to use. 

The Vimo C – Introduction

The Vimo C is a 2.4G hertz dual-channel mini wireless microphone system, designed to work with a variety of hosting products, be it mirrorless cameras, mobile phones, or computers.

It comes in THREE flavors, a SINGLE mic and receiver, TWO mics and a receiver, or TWO mics, a receiver, and a battery charging case, and the latter is the one I am reviewing here today.

What’s in the box?

When you open the supplied pouch almost all the connecting cables that you could possibly need to immediately start working with this device are there. What’s missing is an iPhone Lighting to 3.5mm cable that needs to be purchased separately. On top, Comica added a multi-functional cable for monitoring the sound from the Vimo C itself (USB-C to USB-C, or, 3.5mm cable). Also to be found is a windshield accessory for battling the wind when recording outdoors. 

It is one of the simplest audio devices to operate, as well as the most lightweight and small in size I ever worked with. It’s very straightforward when it comes to using it.

When you take it out of the charging box, both the microphone and receiver will power on automatically, and basically, all you have to do is to look for the solid blue light on the mic itself. This will indicate that both the mic and receiver are now wirelessly connected. 

Vimo C – Simple operation

Next is connecting the Vimo C receiver to your hosting device, which in my case was a mirrorless camera.

On the mic itself:

There are 2 buttons: the orange one is for on/off or mute the mic, and the other is for turning the noise reduction option “ON” or “OFF”. Mind you that the receiver will remember your last setup so when turning it on again, make sure the BLUE light is there and NOT the GREEN one (meaning, noise reduction is set to “OFF”).

On the receiver you will find the following buttons: 

An orange “on/off” button will also serve as a button to change the output recording signal, from “mono” to “stereo” or “safety” (my preferred option as the same track will be outputted in 2 different recording levels to the camera in order to protect the audio from clipping). 

Next is the output socket for connecting to the hosting device, and a USB-C Socket for direct charging or headphone monitoring.

There are also 2 additional buttons, “A” and “B”. Each will control the gain recording levels from the receiver to the camera. There are 4 volume control options, and I truly like that the recording levels of each microphone can be controlled separately. By the way, a long press on any of the 2 buttons will flip the viewing mode on the display (very useful when mounting the receiver on the camera hot-shoe). 

In the above review, I obviously recorded myself with the Comica Vimo C and I did not process the sound any further. What you hear was recorded directly to the FUJIFILM X-H2 camera. 

In my opinion, the sound quality is good. Actually, much better than I expected from a modestly priced wireless system that can not take an external mic. 

Noise Reduction Function – Is it any good?

One of the biggest selling points of this product is the ability to use the built-in noise reduction recording option.

Unfortunately, I was disappointed by the audio quality when engaging in this option. Logically, it’s not realistic for a single noise reduction “stamp” to fit very many situations. Even my Sony noise-canceling headphone will do a “noise evaluating and adjusting” for the best performance. So in theory, if Comica could have analyzed the noise first and then deployed the noise reduction feature, that would have been great, but it seems this is not the case.

Conclusion

Let me end my review by saying that for the price ($134/€179) this is a good option for having a basic reliable sound as long as you don’t activate the noise reduction option and don’t lose eye site with your camera (otherwise, you risk having a broken sound). 

Because it is lightweight and can work for hours when fully charged, it is a good companion for traveling. For me, I’ll be happy to continue using the Comica in situations when talking to the camera but I’ll surely continue to explore its limitations and capabilities as I do see it having potential (perhaps a product firmware update can help with improving the noise reduction option).

Hopefully, for their next generation of mini wireless systems, Comica will consider adding an external microphone input connection option and an onboard audio recording possibility for a hard copy duplication.

Because, honestly, when it comes to audio, I’d rather be safe than sorry. 

What do you guys use for your run-and-gun audio setup? Do you have any experience working with Comica audio devices? Please share your thoughts with us in the comment section below.  

First, can we all agree that, in general, the Smart Slate or the Slate was due for an update?

The slate, timecode and why we still need it

You may recall that a slate is a device designed for syncing audio and video on a film, television, or commercial production. A “dummy” slate, sometimes called a “clapper,” displays valuable information for post-production like the scene heading, take number, production title, name of director and cinematographer, and so on. A “smart” slate takes things a step further with the introduction of timecode synchronization through a small external timecode box mounted to the slate, the camera, and the audio mixing device.

From there, the timecode synchronizes wirelessly or by physically connected cables. Sync’d timecode allows the post team to automatically (or, depending on your software, with the pressing of a few buttons) match video files with audio files. The benefit is that on larger productions, dozens of cameras and multiple teams may be capturing audio at the same time. On multi-camera projects especially, timecode is 100% necessary at every step of the production to avoid potentially expensive cost overruns in the editing bay.

As an aside, sometimes a dummy slate might be “owned” by the camera department, and the audio department might be the keeper of the smart slate, but not always.

Ok, refresher over! Now on to the Deity TC-SL1 Smart Slate.

Film slates – the competition

While there might be many brands in the general audio space, the smart slate market shrinks when we consider only those products which can compete with the new TL-SL1. Those would be smart slate devices by Ambient Recording and Denecke, which retail between $1600 and $2000. Did I miss any other competitors? Let us know in the comments below!

The drawback with those devices is that they rely on disposable and expensive AA batteries or on the need to attach a separate external timecode device — making things bulkier and less streamlined. If you need to attach a separate device, then the smart slate is acting as more of a display (stretching the definition of “smart”).

The Deity TC-SL1 is designed to work alongside (in a 2.4 GHz radio ecosystem) the competitively priced $199 TC-1 Timecode generators, and you can read more about those HERE. However, you can use the 1/4″ TRS and 5-pin LEMO timecode ports to hardline into other common LTC-compatible timecode devices. Therefore, you aren’t entirely locked into the Deity ecosystem if you’ve already invested elsewhere with other systems.

Oddly, there seems to be a lack of Bluetooth adoption amongst the competition, while the TC-SL1 allows for ease of control up to 250′ through the Sidus Audio app. More on that in a moment.

First impressions

The $999 list price felt like a steal when I first removed the stylish milled aluminum Deity Microphones TC-SL1 slate from its semi-rigid gray case that also includes a dry erase marker (thanks!), two NP-F550 batteries, USB C Cable, 1/4″ TRS to 5-pin LEMO cable, all covered by a limited 2-year warranty. There’s a net in the case that could hold additional batteries and cables, or you could even fit a few TC-1 timecode generators in there.

The slate is built out of a single piece of aluminum and feels great to the touch, with just enough traction to make it less likely to be dropped.

A little ridge at the back provides a comfortable place for a 2nd AC to hold the slate and the power button on the side has a sliding protective plate, preventing accidental powering on or off. Turning the slate, you’ll see locking doors for the NP-550 batteries that take two hours to charge and then last for a whopping 120 hours. Indicator lights on either side of the battery doors display green if both batteries are providing power to the slate.

Another standout design feature is the tiny display at the device’s rear that shows the current settings (frame rate, battery life, Bluetooth indicator, and more). A small toggle allows you to manually set everything if you prefer not to use the Sidus Audio Bluetooth app. Having manual control should alleviate concern over the possibility of a dead phone battery in the middle of a busy shooting day.

If you’re shooting exteriors at noon, know that the timecode display on the front is extremely bright. To avoid flaring the camera lens in a studio environment, you can turn down the display’s brightness. My favorite feature might be the ability to write short custom messages on the slate itself, thus providing an opportunity to impress the whole team by adding a client company name or production title. Creating that custom message takes just seconds in the app.

A series of small red LED dot lights in the upper left or bottom right of the timecode display blinks to let you know when the slate is on. Another handy feature is a “flip” button on the side that flips the timecode numbers without having to turn the slate over. There isn’t, however, a protective sliding door over the flip buttons, and I wish Deity had matched the design of the sliding door over the power buttons on the flip buttons too, but that’s a small quibble.

Another possible design feature might be to have a Velcro spot or small strap for mounting a 3rd party timecode generator to the back of the TC-SL1 slate. I also understand why Deity would have wanted to keep the clean look of the design intact.

Sidus Audio app

Back in the day, the launch of the Sidus Link app for Aputure’s lighting products wasn’t without its share of bugs, and that’s to be expected, considering it was a new software product for a company not necessarily known for software design. I’m happy to report that things went much more smoothly with the Sidus Audio app on launch day – granted, from a design perspective, less complexity may now be required.

A quick manual Bluetooth reset on the Deity TC-SL1 meant the app was able to see the slate immediately, along with three other TC1 timecode generators on my Apple iPhone 14.

Having all my TC-1 boxes in the same group worked fine for my purposes. For larger projects requiring multiple camera teams playing in different areas, you might want to configure your devices differently. Most of my time in-app was spent in the “devices” menu, although you could select the “workstation” menu for a larger scrollable display of your devices in a given group.

Clicking “sync” in the app brings all your Deity devices together with identical timecodes in just a few seconds. Obviously, this app won’t work quite this seamlessly if you use a competing product to jam your slate. In that case, a quick visual check will show you’re sync’d.

Final thoughts on the Deity TC-SL1 slate

So far, the TC-SL1 Smart Slate is one of those rare product home runs. It’s that good, and it invigorates an audio product category that hadn’t seen much iteration in years.

The TC-SL1 also does good things for Deity as its brand appeal broadens from solely content creators to including larger productions. Nothing against content creators (as I write this content!), but a wider appeal for Deity can only serve the audio space as a whole.

What do you think? Will you be adding the new Deity Microphones slate to your kit? Let us know in the comments below!

Time for a disclosure right off the bat – I’m not an audio mixer or editor by trade, and handling timecode is usually the province of the audio team in conjunction with the AC team on my sets. Yet that doesn’t mean I don’t appreciate reliable timecode syncing, and I’m always looking for ways to optimize the post workflow on my projects. I also think that, given the cost, the audience for the TC-1 isn’t the traditional folks responsible for on-set timecode, and that this might be a great first timecode experience for many. Let’s dive in.

Deity Microphones, a partner brand of lighting manufacturer Aputure, announced the TC-1 Timecode Generator box alongside a $999 smart slate, which unfortunately has been delayed by supply issues and wasn’t available for this review. So, for our purposes, we’ll stick with the TC-1 Timecode box for this review.

A few banner features of the TC-1 to start:

• OLED Display
• 2.4 GHz Wireless and Bluetooth Control
• Locking 3.5mm Timecode Port
• 28-Hour Battery Life (USB-C Charging)
• Pairs with the new Sidus Audio Mobile App
• Onboard Microphone
• Generates all SMPTE Timecode Formats
• Promised drift rate of one frame within 72-hours

First Impressions

The set of three TC-1 devices ships in a stylish yellow and black box and includes the following:

• Cold Shoe Mount x3
• Locking 3.5mm TRS to TRS Coiled Cable ($20 Value)
• Locking 3.5mm TRS to BNC Cable ($20 Value)
• Locking 3.5mm TRS to Right-Angle 5-Pin LEMO Cable ($45 Value) – For ARRI Alexa Mini
• USB Type-A to Triple USB Type-C Charging Cable

For this review, I primarily used a Sony FS7 MK II with an extension unit, a Canon C300 MK III, a Canon C500MK II and the Canon C70 for various projects over several weeks of testing. All of these cameras have a BNC / SDI port for timecode and thus, I quickly had to acquire two additional 3.5mm TRS to BNC cables because the kit only included one.

This highlighted a gap in the 3-unit kit for me right out of the gate – I would have assumed that a kit like this should ship with three of each of these different types of cables. The individual $169.99 TC-1 kit only ships with the locking 3.5mm coiled cable. My guess here is that Deity wanted to leave this decision a la carte for the owner, given that timecode cables vary from brand to brand (RED Cinema, for example, is notorious for switching cable platforms from camera body to camera body).

My impressions of the TC-1 out of the box are shaped by my time spent with the $229.00 per unit Tentacle Sync E system (really the main competitor for Deity here in terms of price point and Bluetooth control). It is worth noting that the Tentacle Sync E only ships with a 3.5mm to 3.5mm cable. The biggest difference between the Tentacle Sync E and TC-1 is that the Tentacle lacks an OLED display and is 100% reliant on the app to get it working – more on the differences in a second.

A Power, Sync and Pair LED indicator all line the top of the device and the 3.5mm port on the side rounds out the exterior along with a simple power button and a bright, easily readable OLED display – it’s all very minimalist in an approachable sort of way. This seems like a timecode system that wouldn’t be too hard to get up and running right out of the box.

Deity also includes a triple charging cable with the trio that makes charging all three devices that much simpler. Lots to like here – time to power on all three units.

Operation

Here is a video showing the setup that is created by Deity Microphones:

There’s an element to the operation of the TC-1 that really is perfect for a timecode novice like myself, and the Sidus Audio app is starting from a more polished place than even the Sidus Link lighting app was back at version one.

The OLED Display on the TC-1 unit tells you a few bits of useful information at a quick glance:

• Timecode Data
• A letter designation (I changed this to correspond to the camera metadata of the camera the given TC-1 was mounted on)
• A “BT” indicating the unit is being controlled by Bluetooth
• Frames Per Second (23.98F, 24.00F, 25.00F, 29.97F, 29.97DF, 30.00F etc)
• Battery Life (displayed as hours and with a small bar)
• A lock and unlocked screen indicator in the bottom left. This keeps you from bumping a key setting accidentally.

Want to try out the new Sidus Audio app? You can find it available for download HERE.

For starters, unless you want time of day timecode, you don’t even need to open the Sidus Audio app to get all three TC-1’s paired and sync your cameras. I personally don’t love having to hope I have enough battery life on my mobile device at the end of a 12-hour shoot day away from power to make changes in a given app, and the fact that you have a ton of control through the OLED display itself is a big plus for me.

I used the TC-1 primarily to sync multiple cameras and didn’t personally use a mixer on any of my shoots, but you could absolutely set a mixer paired with a TC-1 as your “main node” sending timecode to various camera packages. If your camera package doesn’t have a dedicated BNC timecode port, you could also send audio timecode using the included 3.5mm cable (it takes up one of your audio channels with timecode audio that sounds a bit like you are entering the Matrix).

Once the TC-1 Box is powered on and paired, it quickly enters a screen sleep mode where the bright display shuts off to avoid getting caught in a shot in a pesky reflection.

The Sidus Audio app shows all of the TC-1 Boxes in play, and I assume it will one day show the Sidus Smart Slate as well when those begin to ship.

You can also create different device groups for larger shows, where perhaps different clusters of TC-1 boxes are divided into different camera groups.

Deity Microphones claims a minimal one frame drift after 72 hours and I personally didn’t encounter any drift during any of my shoots with the Sony FS7 MK II, C500 MK II, C300 MK III or the Canon C70 – although we never left multiple cameras running for three days. The fact that I didn’t experience any drift is a big deal and the primary selling point of these devices.

Conclusion

For years, I’ve considered timecode handling and operation to be purely an audio team job and the fact that I can sync timecode on a variety of cameras in a matter of seconds using my iPhone can’t be dismissed. The TC-1 just works – it isn’t rain-proof or bullet-proof, but neither is your favorite camera or mixing device.

I have used Deity Microphones in the past and there is much to like there, but it might be time for the company to change their name to Deity Timecode, because the TC-1 ecosystem and Sidus Audio App are fantastic and exist at a price point that makes sense. I will be interested to see how the upcoming, pricier Smart Slate changes the dynamic, but this is a promising device in a market segment that really needed some healthy competition, after years and years of the same devices being used on set with limited innovation.

What do you think? Will you be adding a few TC-1 boxes to your kit? Do you need timecode in your workflow? Let us know in the comments below!

As we shoot a lot of S35 multicam productions with at least eight team members (mostly 15+), we have been looking for an affordable and reliable wireless intercom solution for quite some time. Here in Europe, we have major brands like Riedel and Green-Go (comparable to Clear-Com and Altair).

These are phenomenal systems, but crazy expensive and not exactly straightforward to use. We’ve spent thousands of euros to rent them, and most of the time you need an extra technician to set them up.

As a reference, this year we paid around 3,500€ (excl. VAT) for a complete package with 20 beltpacks plus technician. Beyond that, if you want to invest in a system from one of the established manufacturers with a comparable feature set to the Hollyland Solidcom M1, you will have to spend at least five times as much. For example, a single Riedel Bolero Beltpack costs around 2,200€.

Hollyland Solidcom M1

We came across the Solidcom M1 in mid-2021 and were lucky enough to get our hands on a demo unit. We quickly realized that it was super simple and quite reliable. So we immediately ordered a complete set of eight beltpacks (M1-8B). Together with the demo unit with 4 beltpacks (M1-4B), we were able to cover most of our upcoming productions with it. In the meantime, we have ordered another M1-8B. So to preface my conclusion a bit: Yes, the Hollyland Solidcom M1 system is really quite good, especially since it is a comparatively inexpensive Intercom system.

The quality and robustness of the wireless connection is simply incredible. Even more so when you consider the price. Even though we had events with more than 1500 guests and distances of at least 200m with a huge stage in between, there was literally no degradation of audibility or loss of connection. Not even concrete bunkers like the Wiener Stadthalle could affect the system.

A plus point is that you can daisy chain the base units with CAT cables to extend the range more or less indefinitely. The beltpacks are smart enough to automatically register with the next available base unit. If you are in a no-fuss venue with a straight line of sight, you can remove the omnidirectional antennas and even increase the range with the internal antenna.

What’s great about the Hollyland Solidcom M1 system

Here’s a list of things we’ve discovered while using the Solidcom M1 system on real jobs. It really is a reliable system, and since it’s truly easy to use, it quickly fades into the background a bit on the job, which is of course a good thing. An intercom system should just work and not be an annoyance. However, we did find a few problems and odd details. I guess that’s just the way it is, right?

• Included is almost everything you will ever need. The kits come in a hard case with foam inserts. A charging station for eight beltpacks and an additional eight batteries (which are also included; four spare batteries in the 4B kit and eight in the 8B kit). Omnidirectional antennas, lanyards, single-ear headsets including storage pouches and all required cables.
• The setup is absolutely foolproof. Once you turn on the base unit and the beltpacks, they will connect automatically. If needed, assign different beltpacks to one (or more) of the three groups directly from the base unit or the app and you’re ready to go.

• The base unit has a built-in 2-wire to 4-wire converter. So you can integrate it into existing systems.
• The build quality is absolutely fine. The beltpacks are very light and small. They have a high-quality Lemo connector, an additional standard 3.5mm stereo jack plug and replaceable antennas.
• 5-6 hours runtime with one beltpack battery. So far, we have never run out of battery.
• The base unit can be powered by Sony NP-F batteries or even via PoE (Power over Ethernet).
• The included headsets are quite comfortable.

• As already mentioned, exceptional range and quality of the connection.
• The price is for a complete package, no hidden additional costs.

Real-Life observations

• The horizontal orientation of the beltpacks is unusual (at least for us). You can remount the belt clips for a vertical orientation, but it quickly becomes clear that this is not really intended by the manufacturer.
• The Lemo connector is definitely a high-quality connector, but it’s also much harder to maintain and replace when it breaks (compared to a 4-pin XLR connector used in most other commonly used systems).
• The beltpacks have (flexible) antennas, which makes them pretty small and you can replace them easily. But you will also constantly snag them with your shirt or the cable. Smaller stub antennas (like those of the predecessor model Hollyland Mars T1000) might have been more practical.

• With Riedel or Green-Go beltpacks you have the option to switch between push-to-talk and “always on”. The Solidcom beltpacks only have an on-off button. But you get used to it.
• Hollyland also offers two-ear headsets (sold separately for about €180).
• The headsets have a built-in switch that disables the microphone when you flip it up (probably the first thing to break).

What we didn’t like

Please note: At the time of writing this article, Hollyland has sent us a new firmware that addresses most of our feedback/criticism, but we haven’t had time to review it yet. Please refer to this Google Doc directly from Hollyland that goes over the new features.

• No replaceable ear cups. That is really a bummer, because you simply have to (or want to) replace them from time to time.
• You cannot assign “listen-only” to dedicated groups. For example, we have the use case where the steadycam operator and his focus puller have their own group to communicate with each other all the time without the other groups hearing them. So far, so good. But if they need to hear the director’s instructions as well, they need to be added to that group, and now everyone in the director’s group also hears the steadycam operator’s group. Previously there was no way to accomplish this. With the new FW (V1.1.2.7) this should be possible by assigning one of eight working modes to different beltpacks via IP accessibility.

• The headsets have thresholds that disable the microphone below a certain noise level. A great thing if you’re in a noisy environment and don’t want everyone to hear a heavy wind noise or people yelling all the time. BUT, on jobs where you need to be reasonably quiet, like talk shows, conferences, comedy/cabaret shows, etc, the director has to more or less whisper, which is then cut off by the gates. Pretty inconvenient when the intercom automatically mutes the director and there’s nothing you can do about it.

Thanks again to Hollyland! They have also added different mic gain modes that can be set individually for each beltpack. If you want to learn more, Nino’s review of the predecessor model Hollyland Mars T1000 can be found here.

Considering the price, the scope of delivery, the quality of workmanship and the customer support (especially when implementing feedback), we can recommend it without hesitation.

Thanx to the finest colleagues from cinelive.at, bobo.at and ppe.live!

Link: Hollyland

What do you think? Do you have any experience working with an intercom system of some sorts? Share your experiences in the comments below!

Tentacle Sync is known for it’s affordable timecode-solutions. These allow users to sync multiple recording devices using the same timecode. Multi-cam shoots are simpler to manage, but even simple dual system audio benefits from synced timecode.

What is the Tentacle TRACK E Audio Recorder?

Tentacle Sync’s new TRACK E is a small audio recorder that fits right in their ecosystem. It’s smaller than an average wireless audio belt pack. That’s practical, because the recorder is meant to be attached on the person being recorded.

The device records onto an internal micro-SD card. This eliminates the need for an analog or digital radio signal being transmitted with all its drawbacks.

The Track E can be timecode synced with Tentacle Sync’s own SYNC E devices. This combination is a nifty solution to elegantly handle dual system audio in a small crew. Or as a one-man-band for that matter.

A couple of companion apps for Android, iOS, macOS and Windows help you get the most out of the TRACK E. However you could even use the device only with a smartphone!

In case you missed it back then, you can also watch our video interview with the Tentacle Sync founder Uli Esser from IBC 2019 (remember when there were still trade shows?) where they first presented the TRACK E audio recorder:

32-Bit float — What Does That Mean?

Conventionally audio devices record 16- or 24-bit fixed point audio, the Tentacle TRACK E Audio Recorder can be set to record 32-bit float. In a 32-bit float file bits are used differently than in “normal” fixed point recordings. This results in a vastly increased dynamic range. (If you want to know more, please check out this article from Sound Devices.)

In the video review I did a little non-scientific test how well 32-bit works and how it can be used.

The Specs

Now let’s have a quick look at the numbers:

• Dimensions: 47mm x 68mm x 19mm (1.85 x 2.67 x 0.74 inches) weighting just under 60 grams.
• Power: Built-in 900mAh rechargeable battery that lasts up to 10 hours and charges in less than two.
• Recording Media: MicroSDHC Card up to 32GB (Recommended Class 10). The included 16GB card is good for recording 30hrs (24-bit) and 23hrs (32-bit).
• Connectors: 3,5mm lockable Microphone Jack, USB-C (USB 2.0 speed) for charging and data transfer. The TRACK E can supply 5V plug-in power to the attached microphone.

The included microphone is a black omnidirectional electret-condenser mic with a frequency response of 50 Hz ~ 20.000 Hz, 150cm of cable.

Conclusion of TRACK E Review

While on its own the TRACK E is a capable and useful device, it really shines when combined with a SYNC E timecode device. Audio quality is great, even with the included Lav microphone, but can be improved by adding a better quality microphone. Before you ask: my favorite lavalier is the Voice Technologies VT500.

Please let us know your thoughts, or experience with the TRACK E in general and with 32-bit float recording in particular — you guessed it: in the comments below!