Fix BAD AUDIO on Deity Theos + Canon C70

[@SoundItOutFilms]

If you're also a C70 shooter check out my course here! www.ericwalkervideo.com/c70

[@GriffinConway]

Really great video. I had the same issue with the Theos and my c70. Thanks for sharing your findings.

[@blurple222]

Me watching this knowing nothing about Deity gear but love listening to Eric talk about gain staging

[@tobiasmrosek9126]

Thanks for all the testing, Eric! I'm a huge fan of your channel. I've been using the C70 since it became available, but I still bought your course a little over a year ago. And I don’t regret it-it's probably the best out there. With all your tests, comparisons, and getting into the nitty-gritty, you’re really saving your fellow filmmakers a lot of time. Thank you for that!

[@SoundItOutFilms]

Great to hear!

[@davidmorefield]

Absolutely love this type of nerdy documentation. Keep the experimentation going. 🤘🏻

[@timelesstruths]

Great presentation, the efforts that went into this production over the top.

[@TheReelport]

Cool info thanks, i just came here to say that you should definitely try rechargable AAs in your devices. Eneloop whites for longevity, blacks for peak performance.

[@videohq-uk]

Thanks so much for making this video! Just about to pull the trigger on the Deity Theos. Didn't realise there were any potential issues with the C70, so you've just saved me so much time troubleshooting it myself in a week or so.

[@alvinburrell]

Spot on - that is what I found - line level is the way to go. Its the same on My FS7 too.

[@MrMoviePhoneEx]

Thank you for once again being the follow manfacturer instructions unless it's canon guy on the youtube! One thing I didn't love about Theos when it launched was the "assumed knowledge" the company took with their very minimal user guides, and like you, I had a lot of trial and error with my set and the c70 before I got comfortable bringing them out on a project. Edit - In regards to the Theos vs other 2.4ghz systems, it's also an image thing. I'm a fan of the DJI mics, I have 3 v1's and the 2 pack of v2 - they are overall great to just throw on a someone or if you're shooting in risky situations like the out in wilds... But for almost every corporate or industrial project I've worked on, having a full kit like the Theos is like building out your camera with rails, extra monitor, cine lenses, etc...

[@MikeRivkees]

It's wild that I have never even *GOOGLED* the difference from MIC and LINE (which I also have on my FX3). I just set it to MIC if I'm running lavs or a shotgun and ignore it. Also that first interview setup looked sweet.

[@redfacilities]

Hey Eric - loved that coffee commercial you shot - which portray monitor we you using instead go your Osee?

[@SoundItOutFilms]

Forget the name but I talk about it in my recent anamorphic zoom video. I picked it up for the anamorphic support.

[@redfacilities]

@@SoundItOutFilms Thanks Eric - I'll check out the video!

[@kevinbatts2804]

Yeah I had gain stageing issues the first few times I used the Deity Theos system.

[@petercofrancesco9812]

I've heard a lot of people complain about noise and clipping with the Theos. Its bad on two fronts for Deity to design the transmitters so they clip like that and then to give people the wrong gain staging information. With Deity you get a better "value" but the downside is their products have issues like this. Theos has lots of features but I find it to be overly complicated. I also think they must have cut corners with the amplifiers in the transmitters and receivers. I also agree about monitoring instead of relying on non monitored internal. Too bad Zaxcom lawsuit I guess because Deity is in the USA they don't want to be sued while Rode and DJI are outside so they record and transmit.

[@DaKeithCody]

ignoring the recording difference would you still recommend a Theos vs say a Sennheiser or Shure wireless system.

[@SoundItOutFilms]

I know a few folks who love the Sennheiser ones, I haven't used either extensively so I can't really say.

[@andyk6344]

Hi! Did you delete the video where you give examples on how to expose using the zebras in the Canon C70? Regards from Norway

[@SoundItOutFilms]

Yeah, that was a few years old and I don’t 100% agree with all my advice in that video anymore.

[@andyk6344]

Thanks for the reply 👍🏼😊

[@OneShotFilmmaker]

C80 thoughts?

[@SoundItOutFilms]

It’s good!

[@xavierstapleton9780]

so is this a c70 for a deity isuee because i have a zoom f6 and a fx3 that I will use for audio when i get to use the theos system

[@SoundItOutFilms]

There's no issue really... you just need the right settings and you'll get great audio with your camera and recorder!

[@MaxoticsTV]

I'm in Cambridge. You don't explain why one should set the camera to LINE instead of MIC. A LINE level is post amplification (pre-amp) of the microphone's output which is a very, very small voltage/current. A LINE level can be quantized (digitized), a MIC level cannot (because it's too weak). It's easy to experience clipping because the microphone transmitter/receiver has ALREADY pre-amped the mic signal. If you put it into the camera as a MIC you are adding another "preamp" to the signal. By setting the camera to LINE you have only ONE pre-amp applied to the mic signal. You control all the pre-amp at the mic level. The first amplification "prepamp" is where you select what pressures (voltage) of the mic you can to focus on. You can't go back once you've preamped it. NO AUDIO RECORDER RECORDS in 32-bit float. Sorry for all ALL CAPS. 32-bit float is 24-bit data with an 8-bit scaling. It is data saved in segments (mantissa and exponent) which are put through a formula. All MIC outputs (voltages) are linear values. They have no inherent scale. Any manufacturer that says it is recording directly to 32-bit float is lying; rather their marketing people are lying to get people to buy new equipment. It is PHSYCIALLY impossible. I wrote an article on Medium that goes into the weeds, you can find it by searching: microphone clipping, the three types explained. The reason you probably can't listen to 32-bit float is the latency of converting 24-bit back and forth from 32-bit float. It is all done in the device. Again, a mic cannot be recorded in 32-bit float, it must first be recorded as 24-bit then rescaled to 32-bit float.

[@SoundItOutFilms]

Hey, thanks for the mic/line explainer!

[@MaxoticsTV]

@@SoundItOutFilms It took me years to figure it out by reading technical literature and thinking it through. It saved me this morning. I was using a Portacapture to pre-amp an RE20 to a Sony A7S2. But I couldn't barely get the levels low enough by setting the rec volume to 1. Because I understood the LINE out was ~1 volt, I went into Portacapture and looked around, thinking I'd set the pre-amp to 0 at lowest gain but found a setting for "CAMERA" or "LINE" out. I picked "CAMERA" and was good to go.