Types of jobs you do:
Industrial / Corporate, Documentaries, Occasional feature film. Lots and lots of Interviews. Camera audio will be final or reference:
I urge reference, however, very few editors in my city understand more than the basics of sound editing.
I always record dual system to give them options, and usually output scratch audio to 1 or more cameras.
Stereo if plugged in directly. Mono mixdowns (or solos) if wireless. I usually just solo my favorite track (boom or lav) instead of a full mono mixdown.
I use 2 old pair of Lectro 100's for camera hops and/or director / client monitor.
For video village I sometimes use the Lectro 100 receiver into a headphone amp (AC powered) to distribute many headphones.
I'm going to switch over to all Sennheiser G3/G4 IEM shortly....about half the price of a Zaxcom TRX/ERX system.
Most common cameras you work with:
Alexa Mini, Canon C300, Sony Fs7, Canon 5DMKII, occasionally BlackMagic 4K
Odyssey7Q pops up a lot on set too, as far as recording Timecode is concerned.
In the last 10+years I have had only 2 requests for timecode! For both I just ran a BNC cable out of my recorder.
Mostly everyone here still wants a scratch track and uses pluraleyes to sync.
If requests keep happening, or if I get a gig that requires wireless TC, I'll probably get a few Tentacle Syncs or Ambient NanoLockits.