Timecode with double-system DV sound - who's the master and who's the slave?
 

When shooting with double-system sound using a camera such as the Canon H1 that has both input and output for SMPTE timecode along with a sound recorder such as the Sound Devices 744T that also has SMPTE in and out, which side of the pair is usually used as the master to generate code and which is the slave receiving code? In film the sound department usually has that role while in studio television it comes from a master house sync but what about film-style digital video where code could flow either from camera to sound recorder or vice versa, is there a preferred method - should one sync the recorder to code coming from the camera or jam the camera to code coming from the recorder?

do you intend to run frreerun tc or record run
the sd can be controlled by rec run tc , it will start to record when the tc going forward , if it free run it doesnt matter who will be the master clock ,
even there is adrift you will have to jam again every few hours .
if you shoot tc slate as well for safety ,make the sd bee the master sink since i believe it has much stable generator