What I was getting at is how you ensure the video is timecoded.
If I get it right, with the Tentacle the master timecode is not a camera, but one of the Tentacle devices. So you need to record the timecode from a Tentacle to each of your recording devices, for instance with this cable https://shop.tentaclesync.com/product/tentacle-to-gopro/ you are recording the Tentacle timecode to the GoPro. The software then at the end synchronizes all these misused audio tracks (Which is in fact the timecode).
OK; that is a standard timecode generator box, as used in the professional sphere.
It is just not practical for a remotely mounted camera, especially if it is in a waterproof housing.
This may have been posted before but there are some timecode generators for a Go-Pro which screw on the back of it.
Peter wrote:
OK; that is a standard timecode generator box, as used in the professional sphere.
It is just not practical for a remotely mounted camera, especially if it is in a waterproof housing.
That’s true, even though the box is small and lightweight.
This may have been posted before but there are some timecode generators for a Go-Pro which screw on the back of it.
But that is a true solution for your problem, like http://cvp.com/index.php?t=product/timecode_systems_syncbac_pro together with the RF solution they provide for timecoding? Or is it again prohibitive in terms of cost?
Yes I think that was the product I saw for the Go-Pro.
Unfortunately, as you say, there isn’t a waterproof solution, and I am not using a Go-Pro (but could be if I wanted this badly enough). I think the Sony cameras are a lot better, as well as being narrower. Go-Pro wins due to the better “ecosystem” 
In reality any of these cameras could accept a timecode over bluetooth, so a single timecode generator would do everything, wirelessly, but IMHO Sony won’t do that because they need to protect their higher-up product lines.
As far as I know there are thick cases from GoPro that take the GoPro with the Syncbac together in the case. Add a Syncbac to your GoPro and use Tentacle Sync for the rest and it should work, but would have to try it out. The syncing over different systems would be a challenge. I am thinking about how this would possibly work. http://www.timecodesystems.com/ might provide a total solution including the Sync bac.
I think the aerodynamics of an even bigger box (than a Go-Pro in a waterproof case) would be interesting, even at 150kt But all this has to stay on even at Vne.
To be honest, what this boils down to is that if you don’t need lip sync you can just record video and sound continuously with a simultaneous start, and if you do need lip sync then you have to look at some professional solution (or spend time manually syncing them).
If you do need lip sync then pretty obviously the video camera will be in the cockpit (unless you have somebody talking while they are walking on the wing ) and then you have multiple solutions. For a start, you could just connect the audio into the camera’s mike input…
Recording the audio on the GoPro is of course the simplest solution. The audio and video are together alteady. But sometimes it makes sense to record the audio on a separate audio recorder.
Indeed but if everything is inside the cockpit then there are – even to my totally novice eyes – vast numbers of pro solutions, involving dedicated timecode generators, jam sync every x mins, etc.
Only the bottom feeders poor people shoot with DSLRs and only the really poor people shoot with action cams 
My next project is de-ice for the Sony camera… I just know it’s gonna be fun… with the plastic lens!
I have had several cases where the audio did not record on one of the audio tracks on the GoPro camera when the microphone was directly connected. Somehow I find it easier to record it using the dedicated Zoom audio recorder. It can record for hours at a time. I just connect it and place it somewhere under my chair and can “forget” about it until after landing. Then, the syncing of the audio to the video can be an issue. Indeed, the lip sync is not always needed, but still, it is extra work to bring the audio back into the video.
This last winter, I have been experimenting with two 360fly cameras (at that time the non-4K version). There is no audio-in connection other than the built-in microphone. And the post processing it not that straight forward. So, we used the Zoom audio recorder to record the audio and I was able to mix the 360 videos in Final Cut Pro together with the Google 360 Metadata tool to convert and be able to import it into YouTube.
The 360 camera could use a ND filter, but that is a little hard isn’t it. Especially with the snow below in the Alps and flying from St. Tropez La Mole to Courchevel, the whiteout is a shame. Anyways, it is nice trying stuff out like this. Lost one of the 2 camera’s above the Alps though :-( so I am not that keen anymore to mount camera’s outside.
