Certain productions call for different cameras and form factors. Most of the reality TV shows I mix use the Sony FX9 or Canon C300. Many scripted projects I’ve mixed tend to shoot on ARRI or RED. Some indie projects still use DSLR cameras, which pose their own challenges for the sound department. Knowing what type of camera we will be shooting on helps me determine how to interface my timecode boxes and wireless audio hops, if requested.

Many films and commercials are shot using a single camera, while some reality shows could have dozens! That’s why it’s so important to know how many cameras will be rolling on the day. It helps me prepare my timecode boxes and cables accordingly. If necessary, I may need to supplement with additional rentals to make sure that every camera stays in sync.

Some promo shoots are as simple as a camera on a tripod, a light, and a boom pole on a stand. Others involve extensive rehearsals and perfect timing to make happen. Knowing the camera movement ahead of time helps me prepare for how I can best facilitate the production.

Most professional video cameras have a dedicated timecode input, which makes syncing the files for editing a breeze in post. Other camera systems, such as DSLRs, only have a microphone input, and no timecode. Knowing the type of cameras we’ll be using helps me make the best decisions for how to plug my gear into the camera, and keep myself in the editor’s good graces.

There are scenarios when post requests an audio mix to camera, sometimes known as a scratch feed, by using a hardline cable or a wireless receiver called a hop. This can be helpful for on-set VTR playback, and also for synching the files from my recorder in the edit. This mix will never sound as good as the files I deliver, but it’s sometimes nice to have as a backup.

Many producers see the value in hiring a camera assistant whose main job is to use the timecode slate to help sync audio with the cameras on set. Of course it makes for a great Instagram selfie prop between takes, but it becomes incredibly useful in the edit.

The slate contains all the pertinent information to the scene being shot, and provides a visual and audible cue to the editor each time the sticks are clapped. If multiple cameras are rolling on a scene, the timecode display provides a common reference that all the cameras can see. This makes syncing multiple audio and video files an easy process, even if some of the cameras don’t natively accept timecode.

There’s a big difference between a single talking head and an ensemble cast. Most of the time, the producer or director wants everyone in the scene wearing a wire. Knowing this ahead of times lets me plan for each scenario, and provide additional equipment if the day calls for it.

It has become customary for directors, producers, and clients to have access to a wireless headphone feed, sometimes known as a Comtek or IFB. This allows them to hear whoever is on camera from pretty much anywhere on set.

I travel with 8 IFBs ready to deploy at any given moment, but sometimes there are a lot of clients or producers on set who want to listen in, and I need to have more on hand. If that’s the case, it helps to have plenty of notice so that I can source more wireless IFB receivers and headphones. What’s the fun if they can’t hear my awesome sounding mix?!

Since COVID, remote production has become more common. It can also be impractical to fly people across the country (or the world) to make creative or technical decisions in the moment. I’m able to provide my audio mix to the Zoom computer via USB so that the client can see and hear everything, just like the folks at video village.