To prevent audio sync problems when recording video and sound on separate devices, capture a clear shared reference for every take, confirm the devices’ frame-rate and timecode setup, and check alignment at both the beginning and end of long recordings. A slate or sharp clap gives you a manual sync point; it does not prevent clock drift. Timecode can help locate matching moments, but it does not necessarily keep independent device clocks running at the same rate.
What to do before the shoot
- Confirm frame rates. Set the intended camera frame rate and project frame rate, and verify the camera is recording usable reference audio when your workflow allows it.
- Check timecode at the devices. If you plan to sync by timecode, confirm that each camera and recorder receives and records the intended format. For multicamera work, verify that recorded clips actually contain accurate matching timecode before relying on automatic alignment.
- Plan a shared cue. Without dependable timecode, clap a slate at the start of every take. Make it visible to the camera and audible to the external recorder. Keep the camera’s scratch audio when practical; it can provide the shared sound a waveform match needs.
- Match the solution to the risk. A slate supplies a reference point, common timecode helps locate corresponding file positions, and supported shared clocking such as genlock or wordclock addresses clock-rate differences. They serve different purposes.
What to capture during each take
Make the reference usable
Slate clearly enough that the camera records the clap visually and the external recorder captures its sound. Record the cue on the camera scratch track too when possible. Waveform sync needs overlapping audio that contains the same event; if that evidence is missing or substantially different between recordings, use the slate or another shared marker instead.
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Check long recordings twice
For long takes or sessions, add a second shared cue later when practical. Comparing the head and a later point reveals whether the recording has a consistent offset or is moving out of sync over time. A correct start alone does not show that the tail stayed aligned.
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Use names that identify the take and the source device, such as camera or recorder. RØDE’s Resolve 18.5 timecode guide recommends making camera and recorder origins identifiable in filenames.
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Choose a sync method in post
Use the strongest reliable evidence captured on set. Clean shared audio is suited to waveform synchronization; accurate common timecode can align file positions; a slate or other visible shared cue gives you a manual reference if the automated options are unavailable or unreliable.
| What you captured | Practical method | What to check |
|---|---|---|
| Clear overlapping camera and recorder audio | Waveform or audio synchronization | Both recordings include the same sound, and the camera audio is usable as a reference. |
| Accurate matching timecode | Timecode synchronization | Devices recorded the intended format and the clips carry matching, accurate timecode. |
| Visible slate or another shared marker | Manual alignment at the shared event | The event is identifiable in the picture and has a corresponding sound or marker. |
| No dependable common evidence | Return to the source recordings or establish a sync reference on a new take | Without a common event, reliable matching cannot be assumed. |
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Adobe’s timeline synchronization instructions document alignment by clip start, clip end, common timecode, numbered clip markers, or an audio channel selected as the reference. A slate clap at the head or tail can provide a shared event for alignment. For multicamera source sequences, Adobe’s multicamera instructions describe synchronization options including timecode, linear timecode, sound timecode, audio, and clip markers. For separate audio-only clips, the documented frame-offset adjustment ranges from -100 to +100 frames. Menu details can change; check the instructions for your installed version.
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RØDE’s workflow guide for DaVinci Resolve 18.5 describes updating camera timecode from an audio track and then using Auto Sync Audio based on timecode. For multicamera projects, it describes timeline auto-align or multicamera creation with Timecode selected. These are version-specific instructions, so consult current software documentation for later releases.
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A fixed offset means the recording is consistently early or late. Drift means the start may line up while the tail diverges. The distinction matters: moving a clip corrects its position at the point you align, but it cannot by itself fix a changing timing difference throughout a long take.
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Sound Devices explains in its PIX 270i User Guide and Technical Information, version 2.33, that recorders can begin with no offset and drift apart by the end because they run at different rates. This is the manufacturer’s explanation, not a universal clock specification for all recording devices.
| What you notice | Likely issue | Next step |
|---|---|---|
| The whole recording is consistently early or late. | Fixed offset | Align at the slate or another shared cue. Check timecode and the camera’s embedded audio/video behavior before applying an edit offset. |
| The start aligns, but the tail does not. | Rate drift | Check whether the devices used independent clocks and confirm frame-rate and timecode settings. If your equipment supports it, consider shared clocking such as genlock or wordclock; timecode alone does not necessarily lock clock rates. |
| Waveform sync cannot find a match. | The shared audio may be absent, too different, or not overlapping. | Confirm that camera scratch audio and recorder audio overlap and contain the same sound. Use the slate or a manual marker if they do not. |
| Different takes need different corrections. | Setup or metadata may vary by take. | Check each device’s frame-rate and timecode configuration and slate each take rather than applying one assumed correction to all clips. |
When synchronization hardware helps
For a simple camera-and-recorder setup, a hand clap or slate may provide all the reference needed. A dedicated slate is useful when a clear visual and audible cue is important, but buying one is not a requirement.
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For long takes or several devices, synchronization hardware may help when the equipment supports the relevant functions. Before choosing it, check each camera and recorder’s actual timecode input/output, genlock, or wordclock support and confirm how it records those signals. Timecode is useful for identifying corresponding moments; shared clocking addresses rate differences. A separate field recorder captures production audio, but it does not inherently prevent drift if it runs on an independent clock.
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Verify sync before delivery
- Align the picture and production audio using the most reliable shared evidence in the recordings.
- Watch and listen near the beginning, checking lip movement, a sharp transient, or another clear event.
- Repeat the check near the end of every long take. If the head aligns but the tail does not, investigate rate drift rather than treating it as a simple offset.
- For multicamera or multi-recorder material, check clips from each take and device; a successful sync on one clip does not establish that every clip shares the same settings.
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