DLED Dedolight Reviewed


Justin Mills TV-Bay Magazine
Read ezine online
by Justin Mills
Issue 92 - August 2014

Ive been using Felloni LED light panels for over 18 months now, and have really enjoyed the ease of operating lights using battery power in my case, V lock batteries that I also use to power my cameras. No cable runs, easy to reposition and that much less time setting up and packing up. Although their 1ft x 1ft size means they are too small to give the wrap around effect of a softlight, some diffusion vastly improves the light quality. They can also pack a punch and last ages on a single battery. But now Im in the battery habit, what Ive been lacking is something I can use to replace my 4 AC-powered Dedo lights: battery-powered LED technology in a hard light package to use as backlights and background lights.

Enter the new range of Dedo LED heads that claim to be able to do just that. I took two on a couple of recent shoots to test them out: DLED 2.1 and the DLED 4.1. The full range that goes up in size to a 12.1 (approximately equivalent to 1.2 fresnel HMI), but these smallest two seem to be the most likely candidates to substitute for the AC DLH2 and DLH4 heads so many of us have in our light kits. With the rapidly improvements in recent LED technology, the numbering system is similar to computer software updates, so these lights replace the .0 versions, and each successive generation will increase by 0.1 with the latest hardware.

First impressions are that they are built with the hardwearing standards of the DLH4 series, and could certainly take some of the hard knocks and indignities my AC lights have been subjected to over the years. Most of the head is actually taken up with the flat-layered aluminium heat sink at the back, and they do get a little hot, although not nearly as much as conventional AC lights. Behind the face of the light is a focus control ring, changing the beam angle from 5 to 50 degrees on the 2.1, and 4 to 60 degrees on the 4.1. In the bi-colour version I was using, a colour temperature dial from 2600-6000K. One welcome feature is that the AC supply input voltage is rated 90-264, so there is no longer any problem going between 240V and 120V countries as the same supply will work in either.

V lock adaptors provide the battery powering option for the lights, which are connected via their D-tap connectors to the DC power supply. The batteries can be hung on the light stand when attached to the adaptors. The 4.1 head connectors are 4 pin XLR and the 2.1 uses a smaller screw in connector the 4.1 worked without problems, but its worth noting the XLR connection could get knocked against the yoke of the light when tilting it so care is needed when positioning it. This V-lock powered system worked very well, and would be fine for 95% of my shoots, but I could imagine ordering a D-tap extension cable to rig the head anywhere harder to access than a floor mounted stand.

The 2.1 is unusual in the range and has all necessary controls built in to the body of the bottom section of the light unit - all it requires is power, which means it can also be used as a camera mounted toplight, powering from a cameras 12V output. AC adaptors are also available for each, the 2.1 drawing 20 Watts, and the 4.1 40 Watts

So how are they to use? I had the Bicolour lights, and comparing them side-by-side with the earlier 2.0/4.0 versions, the LED light colour is hugely improved, specially at the tungsten end. Its great to be able to tweak the colour so easily, although you do lose out on output compared to a single-colour daylight or tungsten unit at flood. I ended up using the smaller 2.1 as a backlight on interviewees, and for that purpose Id be happy to have the bicolour version for ease and speed. The 4.1 was just about strong enough to give an background accent on a cream wall behind one of the interviewees in a room illuminated by a window - the daylight version would probably have been more effective.

The focus ring works both to control light angle (the 4-5 degree tight beam is virtually the same as the AC DLH4) and to increase output. In a two-camera, low-key indoor situation without the fight against daylight, but with a huge fight against light spill from soft lights as keys, I was able to solve the problem by substituting with the LED hard lights as side keys, using the focus to increase the output to acceptable levels.

Beam spread was even and constant throughout the focus range, and the multi-leaved barn doors are really versatile, enabling enough control to create light slashes or squared-edged shapes. Like the AC lights there are projectors available for ultimate accuracy and inserting gobos, and soft boxes for both fixtures. I could see a softbox being useful for conventional one-camera interview setups, with the 4.1 as diffused key, and the 2.1 as backlight either soft or hard.

The comparison with the 150W DLH4 output levels is interesting - see the table below. The data shows the 4.1 Bicolour is less powerful than either the DLH4 or the 4.1 daylight version, although its more powerful at 5500K than 3200K. The DLH4 comes out as a winner at both spot and flood, but notice that the angle of the flood on the LED is 12 degrees narrower, and thus the light beam may be more concentrated. How much does this matter for most shoots? In my experience, I rarely use my AC dedos at full power, and often end up having to compensate for the resulting colour shift with CTB gels, so in most tungsten situations I dont see the lower flood output being a problem, but the figures would certainly steer me towards the daylight version and Id use CTO to match colours shooting indoors.

I didnt have a chance to see how long by 95Wh batteries would power the lights for, but certainly for a one hour interview the charge display had only dropped about 30%. In tests the UK distributor says the 4.1 ran at full output for three and a half hours on an 130Wh battery, so the 2.1 should be double this.

In conclusion I found the Dedo fixtures absolutely lived up to the quality the brand name implies. There are other lights on the market at a range of price points and quality, but none has the unique patented design that produces the unique beam qualities we all know from the AC range. I would be happy to use them


Tags: iss092 | dedolight | review | DLED | light | studio | LED | Justin Mills
Contributing Author Justin Mills

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

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  • BBS Lighting Force 7 at NAB 2018

    BBS Lighting Force 7 at NAB 2018

  • DOP Choice Lighting Bracket and Snapbox at IBC 2017

    DOP Choice Lighting Bracket and Snapbox at IBC 2017

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Cirrolite and Dedo Light at BVE 2016

    Cirrolite and Dedo Light at BVE 2016

  • KitPlus Show 2015 Highlights

    KitPlus Show 2015 Highlights

  • Highlights of the November Tour 2014

    Highlights of the November Tour 2014

  • Lightworks on BroadcastShow Tour May 2013

    Lightworks on BroadcastShow Tour May 2013

  • Scott Hill uses EditShare: Lightworks at NAB 2013

    Scott Hill uses EditShare: Lightworks at NAB 2013

  • Photon Beard: Space Light at NAB 2013

    Photon Beard: Space Light at NAB 2013

  • Photon Beard: Square One Light at NAB 2013

    Photon Beard: Square One Light at NAB 2013

  • ZyLight at IBC 2012

    ZyLight at IBC 2012

  • Rotolight at NAB 2012

    Rotolight at NAB 2012

  • Rotolight and TNP at BVE 2012

    Rotolight and TNP at BVE 2012

  • Rotolight at ProVideo2011

    Rotolight at ProVideo2011

  • TNP and Rotolight at BVE North 2011

    TNP and Rotolight at BVE North 2011

  • Rotolight at IBC2011

    Rotolight at IBC2011

  • Studio Technologies at NAB 2014

    Studio Technologies at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • JVC GY-HM850 and GY-HM650 at NAB 2014

    JVC GY-HM850 and GY-HM650 at NAB 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Brainstorm Multimedia at NAB 2014

    Brainstorm Multimedia at NAB 2014

  • Projects Department on BroadcastShow LIVE at IBC

    Projects Department on BroadcastShow LIVE at IBC

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Cirrolite and Kino Flo at BVE 2017

    Cirrolite and Kino Flo at BVE 2017

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • Kitplus at BVE 2015

    Kitplus at BVE 2015

  • Winner of the LP54 Miller Classic

    Winner of the LP54 Miller Classic

  • Broadstream Solutions at NAB 2014

    Broadstream Solutions at NAB 2014

  • Matrox Monarch HD at NAB 2014

    Matrox Monarch HD at NAB 2014

  • Metus at NAB 2014

    Metus at NAB 2014

  • Cineline Fluid Head from Miller Camera Support at NAB 2014

    Cineline Fluid Head from Miller Camera Support at NAB 2014

  • MultiDyne Products at NAB 2014

    MultiDyne Products at NAB 2014

  • Nugen Audio at NAB 2014

    Nugen Audio at NAB 2014

  • PacTV Truck at NAB 2014

    PacTV Truck at NAB 2014

  • PAG Batteries at NAB 2014

    PAG Batteries at NAB 2014

  • Phabrix RX rack mount range at NAB 2014

    Phabrix RX rack mount range at NAB 2014

  • Phabrix at NAB 2014

    Phabrix at NAB 2014

  • Phabrix TAG at NAB 2014

    Phabrix TAG at NAB 2014

  • Pixel Power at NAB 2014

    Pixel Power at NAB 2014

  • Polecam presents award to AMS Pictures at NAB 2014

    Polecam presents award to AMS Pictures at NAB 2014

  • Pronology at NAB 2014

    Pronology at NAB 2014

  • Quantel Pablo Rio at NAB 2014

    Quantel Pablo Rio at NAB 2014

  • Quantel Enterprise sQ at NAB 2014

    Quantel Enterprise sQ at NAB 2014

  • Quantel QTube at NAB 2014

    Quantel QTube at NAB 2014

  • RTW at NAB 2014

    RTW at NAB 2014

  • SGL at NAB 2014

    SGL at NAB 2014

  • SIS LIVE product range at NAB 2014

    SIS LIVE product range at NAB 2014

  • SIS LIVE ManPak at NAB 2014

    SIS LIVE ManPak at NAB 2014

  • Softron MovieRecorder updates at NAB 2014

    Softron MovieRecorder updates at NAB 2014

  • Sony Alpha7S at NAB 2014

    Sony Alpha7S at NAB 2014

  • Sound Devices at NAB 2014

    Sound Devices at NAB 2014

  • Telestream Enterprise at NAB 2014

    Telestream Enterprise at NAB 2014

  • Telestream Switch at NAB 2014

    Telestream Switch at NAB 2014

  • Thomson Broadcast at NAB 2014

    Thomson Broadcast at NAB 2014

  • Perception at NAB 2014

    Perception at NAB 2014

  • Visual Unity at NAB 2014

    Visual Unity at NAB 2014

  • Volicon at NAB 2014

    Volicon at NAB 2014

  • Calrec Summa at NAB 2014

    Calrec Summa at NAB 2014

  • ChyronHego PowerClips at NAB 2014

    ChyronHego PowerClips at NAB 2014

  • ChyronHego at NAB 2014

    ChyronHego at NAB 2014

  • Cinegy at NAB 2014

    Cinegy at NAB 2014

  • Clear-Com ProGrid at NAB 2014

    Clear-Com ProGrid at NAB 2014

  • Clear-Com HelixNet Partyline at NAB 2014

    Clear-Com HelixNet Partyline at NAB 2014

  • Cobalt Digital at NAB 2014

    Cobalt Digital at NAB 2014

  • CueScript Prompters at NAB 2014

    CueScript Prompters at NAB 2014

  • Dalet at NAB 2014

    Dalet at NAB 2014

  • Dejero at NAB 2014

    Dejero at NAB 2014

  • DPA Microphones at NAB 2014

    DPA Microphones at NAB 2014

  • Editors Keys at NAB 2014

    Editors Keys at NAB 2014

  • Elemental Technologies Software-Defined Video at NAB 2014

    Elemental Technologies Software-Defined Video at NAB 2014

  • Elemental Technologies HEVC solutions at NAB 2014

    Elemental Technologies HEVC solutions at NAB 2014

  • Elemental Technologies Multiscreen Solutions at NAB 2014

    Elemental Technologies Multiscreen Solutions at NAB 2014

  • Ericsson at NAB 2014

    Ericsson at NAB 2014

  • Facilis at NAB 2014

    Facilis at NAB 2014

  • GB Labs Space at NAB 2014

    GB Labs Space at NAB 2014

  • Glensound Atomic Copper at NAB 2014

    Glensound Atomic Copper at NAB 2014

  • Guntermann and Drunck at NAB 2014

    Guntermann and Drunck at NAB 2014

  • Haivision at NAB 2014

    Haivision at NAB 2014

  • IMT at NAB 2014

    IMT at NAB 2014

  • Inmarsat at NAB 2014

    Inmarsat at NAB 2014

  • JVC concept products at NAB 2014

    JVC concept products at NAB 2014

  • Libec ALLEX slider system at NAB 2014

    Libec ALLEX slider system at NAB 2014

  • Matrox Mojito at NAB 2014

    Matrox Mojito at NAB 2014

  • Matrox Capture Card at NAB 2014

    Matrox Capture Card at NAB 2014

  • AQ Broadcast at NAB 2014

    AQ Broadcast at NAB 2014

  • ATEME at NAB 2014

    ATEME at NAB 2014

  • Atomos Shogun and Ninja Star at NAB 2014

    Atomos Shogun and Ninja Star at NAB 2014

  • Atomos Operating System at NAB 2014

    Atomos Operating System at NAB 2014

  • Atomos at NAB 2014

    Atomos at NAB 2014

  • Polecam talk accessories on BroadcastShow LIVE 2013

    Polecam talk accessories on BroadcastShow LIVE 2013

  • Polecam talk high speed on BroadcastShow LIVE at IBC 2013

    Polecam talk high speed on BroadcastShow LIVE at IBC 2013

  • ChyronHego Paint at IBC 2013

    ChyronHego Paint at IBC 2013

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Official TOUR Video 2013

    Official TOUR Video 2013

  • Photon Beard: Cyc Hood at NAB 2013

    Photon Beard: Cyc Hood at NAB 2013

  • Jonathan Harrison at BVE North 2012

    Jonathan Harrison at BVE North 2012

  • MultiDyne at NAB 2012

    MultiDyne at NAB 2012

  • Editshare at NAB 2012

    Editshare at NAB 2012

  • Litepanels at NAB 2012

    Litepanels at NAB 2012

  • Calrec at BVE 2012

    Calrec at BVE 2012

  • Datavision at BVE 2012

    Datavision at BVE 2012

  • Flaghead Photographic at ProVideo2011

    Flaghead Photographic at ProVideo2011

  • Ianiro at BVE North 2011

    Ianiro at BVE North 2011

  • Cirrolite at BVE North 2011

    Cirrolite at BVE North 2011

  • PAG at IBC2011

    PAG at IBC2011

  • Photon Beard at IBC2011

    Photon Beard at IBC2011

  • Quantel at IBC2011

    Quantel at IBC2011

  • IDX at IBC2011

    IDX at IBC2011

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Broadcast Bionics show the Bionics Studio at BVE 2018

    Broadcast Bionics show the Bionics Studio at BVE 2018

  • Glyph External Storage including the Studio and Atom raid at IBC 2017

    Glyph External Storage including the Studio and Atom raid at IBC 2017

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • The Media Experience Studio from Verizon at NAB 2017

    The Media Experience Studio from Verizon at NAB 2017

  • Infinity Arm - Matthews Studio Equipment at NAB 2016

    Infinity Arm - Matthews Studio Equipment at NAB 2016

  • CHYRONHEGO STUDIO MEDIAMAKER at NAB2015

    CHYRONHEGO STUDIO MEDIAMAKER at NAB2015

  • Studio Technologies at NAB 2012

    Studio Technologies at NAB 2012

  • Sonifex at BVE 2012

    Sonifex at BVE 2012

  • Combo Live 55 Pedestal from Miller at NAB 2017

    Combo Live 55 Pedestal from Miller at NAB 2017

  • aQ Broadcast Production Suite at BVE 2014

    aQ Broadcast Production Suite at BVE 2014

  • Brainstorm on BroadcastShow LIVE at IBC 2013

    Brainstorm on BroadcastShow LIVE at IBC 2013

  • TSL Products PAM1, SAM1 and PAM PiCo at IBC 2013

    TSL Products PAM1, SAM1 and PAM PiCo at IBC 2013

  • TSL Products at IBC 2013

    TSL Products at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • TSL Systems at BVE 2013

    TSL Systems at BVE 2013

  • Guntermann and Drunck GmbH at BVE 2013

    Guntermann and Drunck GmbH at BVE 2013

  • Vinten Radamec at NAB 2012

    Vinten Radamec at NAB 2012

  • Clear-Com Tempest at NAB 2012

    Clear-Com Tempest at NAB 2012

  • Xpertia at BVE 2012

    Xpertia at BVE 2012

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Kino Flo at NAB 2016

    Kino Flo at NAB 2016

  • Pixelution at BVE North 2011

    Pixelution at BVE North 2011


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What is next in OTT
Mary Kay Evans In the past year alone, we’ve seen a substantial increase in the amount of OTT content that’s being streamed. In the first quarter of 2018, there’s been a 114 percent year-over-year growth in streaming video hours, and those numbers are only expected to rise. With OTT revenue predicted to reach $16.6B in 2018, a 40% gain over last year, there’s no question that OTT is booming, and that there’s never been a more critical time to pay attention to the space.
Tags: iss133 | ott | verizon | cisco | Mary Kay Evans
Contributing Author Mary Kay Evans Click to read or download PDF
Managing Technological Change
Alan Wheable Continual technological change in the broadcast and media industries can make it difficult to plan for the mid to long term. Typically, broadcasters and media organisation are still implementing the last set of changes to working practices when the next changes come along.
Tags: iss133 | omnitek | ip | waveform | vectorscope | ultra tq | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF
IBC in a post Brexit world
Peter Savage 2 Cast your mind forward and we are not in 2018 but next year and, yes, it’s you and me walking to the departure lounge to catch the plane to IBC just as I, and perhaps also you, have done for the last 25 years. (By the way, where is my long service award – and perhaps a new pair of shoes as I must, surely, have walked the equivalent of five Caminos covering the 12 halls in the Rai). We are at the gate and my imagination kicks in as I hypothesize on what the trip might look like next year. I leave it to you to decide which is closest to what might be to come.
Tags: iss133 | azule | brexit | ibc | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
Why are trade shows still important
Mike Crimp First, the disclaimer: as the CEO of a rather large trade show, my opinion is likely to be skewed. However, I wouldn’t be here – now in my eighth year at IBC - if I didn’t truly believe that well-curated trade shows like IBC are a hugely important resource for our industry.
Tags: iss133 | ibc | innovation award | Mike Crimp
Contributing Author Mike Crimp Click to read or download PDF
OB999 Accelerates Hill Climb Broadcast
Nick Collier Over the last century, The Shelsley Walsh Speed Hill Climb has been attempted by some of the world’s most accomplished racing drivers striving to be the fastest up the 1,000 yard, 1 in 6 gradient track.
Tags: iss133 | ob999 | blackmagic | atem | multicam | videohub | cleanswitch | premiere pro | hyperdeck | Nick Collier
Contributing Author Nick Collier Click to read or download PDF