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Originally Posted by kelsey
What cameras are you working with? That is the first most important piece of info that will dictate how you move forward. I do lots of this type of show recording and there are a variety of approaches I have seen used. A bit of general info that may help:
Timecode is just a metadata stamp which will allow you to align the audio recording with the video files. You can choose which device is the master, but all units need the same TC to automatically sync on a timeline in post. LTC, which is the signal that feeds each device timecode can be recorded onto an audio track if need be, but it's less common and requires more steps to work with in post.
If you want the cameras to stay in sync with pro tools over the length of the show and not drift you need to genlock the cameras to the sync hd. You can do this with a BNC cable or if you need more freedom you can get clocks for the cameras like the ambient lockit boxes. This of course assumes your cameras accept genlock. Professional cameras do, pro-sumer cameras may or may not. A production sound mixer does this camera/sound sync every day and can help you out, or you may have success renting lockit boxes and getting some advice from a production sound rental house like Trew Audio.
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Sorry to go off topic, but I'm curious why two digital disc-based recording systems are still doing things like drifting apart in time? We're dealing with sampling rates of tens of thousands to a second, yet systems aren't independently keeping good enough time? How big a problem is this- say, what kind of drift might the OP expect over a 40 minute program? I've never met drift that I couldn't fix by correctly matching frame rates, but when I'm worried about sync it's usually just 3-minute videos- too short a time to notice the problem?