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[Brian Bolly]

I am not an expert in field recording, but have had a lot of talks over the last few weeks with a friend who is, and have learned a couple key points:

• On video shoots, the audio folks hold the responsibility of verifying frame rate and ensuring sync across all devices, including cameras
• If you are using more than 1 camera, you need to make sure everything is syncd
• If you are doing anything that is being recorded for later archival or editing, you need to make sure everything is syncd
• If you are simply doing live to the web it is less important to have sync.  But often, someone will want it recorded (see above)
• The cost of sync devices has come down significantly with devices like the Tentacle Sync, Denecke boxes, or NanoLockit.  If you are doing field recording, it's a small investment for some highly useful tools
• The ROI on renting sync boxes to the client, even for their own cameras, is good (his words, not mine)
• The audio guy needs to learn camera menus to set the proper frame rate (see point #1)
• It is recommended that the audio guy carry the adapter cables to connect the sync boxes to the cameras - there are different pinouts and connectors, and don't expect the video guys to have them, ever (see Craig's recent thread on video)

So in short, a minor investment in a field recorder that can generate TC, and some remote sync boxes to hang on cameras, is small in the grand scheme of things to turn a bit of ROI back around and ensure proper sync everywhere.

[Dan Richardson]

I am not an expert in field recording, but have had a lot of talks over the last few weeks with a friend who is, and have learned a couple key points:

• On video shoots, the audio folks hold the responsibility of verifying frame rate and ensuring sync across all devices, including cameras
• If you are using more than 1 camera, you need to make sure everything is syncd
• If you are doing anything that is being recorded for later archival or editing, you need to make sure everything is syncd
• If you are simply doing live to the web it is less important to have sync.  But often, someone will want it recorded (see above)
• The cost of sync devices has come down significantly with devices like the Tentacle Sync, Denecke boxes, or NanoLockit.  If you are doing field recording, it's a small investment for some highly useful tools
• The ROI on renting sync boxes to the client, even for their own cameras, is good (his words, not mine)
• Web streaming is "24 fps" but not really - it's 23.976 in almost all instances.
• The audio guy needs to learn camera menus to set the proper frame rate (see point #1)
• It is recommended that the audio guy carry the adapter cables to connect the sync boxes to the cameras - there are different pinouts and connectors, and don't expect the video guys to have them, ever (see Craig's recent thread on video)

So in short, a minor investment in a field recorder that can generate TC, and some remote sync boxes to hang on cameras, is small in the grand scheme of things to turn a bit of ROI back around and ensure proper sync everywhere.

Field recording and streaming are very different animals.

YouTube, Facebook, Twitch, and Vimeo, all recommend 30 or 60 fps. Never seen a recommendation for 24 fps, that's movie speed.

The vast majority of streams are run from cameras that don't even have sync capabilities. Webcams, iPhones, camcorders, PTZs, DSLRs.

[brian maddox]

At this point in circuit design, there's no excuse for anything to not sound great. Sound Devices are head and shoulder above the others in build quality, but also in cost.

Sound Devices is BOCO all the way. But that's why you see little else on A list film/video shoots....

[Geert Friedhof]

BOCO?

https://acronyms.thefreedictionary.com/BOCO

[Debbie Dunkley]

BOCO?

https://acronyms.thefreedictionary.com/BOCO

Buy Once Cry Once?

[Tim McCulloch]

Buy Once Cry Once?

We have a winner!

[Mark Scrivener]

Sound Devices is BOCO all the way. But that's why you see little else on A list film/video shoots....

I'm sure the quality is great, but no plans for any real film/video shoots, and most of the sound devices units cost as much or more than the smaller digital mixers many of us use these days - Ui24r, X32 rack, etc. If I was doing location sound for a Netflix series, then no problem...but my use will be small, occasional location recording of solo artists or small ensembles. I'm even starting to wonder if I should just deal with a laptop and one of the old audio interfaces I have collecting dust. A high quality "run-n-gun" rig would be cool....just not sure I really need it.

[Patrick Tracy]

One caveat with the H4N is that it won't take a line level signal on the combo jack inputs.

My experience with the H4n is that the TRS is padded down relative to the XLR. On my H5 I can select a 20dB pad and it affects the XLR.

[Scott Slater]

The Tascam DA-3000 ( https://tascam.com/us/product/da-3000/top ) is also a great choice IMO.  I've used it for years.  It has loads of I/O options and can record on multiple formats at multiple sampling rates.  It even supports DSD recording.

[Brian Bolly]

Field recording and streaming are very different animals.

YouTube, Facebook, Twitch, and Vimeo, all recommend 30 or 60 fps. Never seen a recommendation for 24 fps, that's movie speed.

The vast majority of streams are run from cameras that don't even have sync capabilities. Webcams, iPhones, camcorders, PTZs, DSLRs.

Mea culpa - my cinema notes were next to my streaming notes and you're correct.  I will strike that from my original post.

[ProSoundWeb Community]