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That director obviously has no idea about sound but is about to learn a hard lesson about the price of ADR. You've done your job as best you can, you've raised your concerns, maybe they are planning on ADR but I doubt it. If this was a paid gig I'd say just carry on and pocket your paycheque...

A bit of a digression but from what I know stereo FM transmission is not L and R but a Mono and Spread very similar in theory to MS recording to allow mono compatibility as a lot of radio handsets still only had one speaker. Quite a crucial point when mastering CDs

If you intend on recording drama you will spend quite a lot of time indoors so I'd be wary of getting a 'compromise' hyper. I'm also at the stage where I want to add a hyper to my arsenal but don't want to spend the majority of my time swinging an inferior mic. If I didn't already have the 416...

That's one of the big problems with those hand held recorders, they are designed to be hand held facing up. When I used to use one of those the best I could come up with was to try and rest it on a stool or table top and not pull it off. Of course only gonna work for nice static shots...

ooh! three times the hiss! Seriously though these units are aimed towards amateur musicians and I can see this unit's additional tracks kinda useful for recording gigs with vox, guitars and drumoverheads on separate channels. As for film applications this gives a budget option for people...

Take the sound guy to the alley and ask him what he thinks. He won't think you're being stupid, in fact he will be pleasantly surprised that someone actually done what they are supposed to do and actually involved the soundy in pre-production.

if you go to the Rycote page they list compatible mics with all their products. If you find a product that lists both your mics you're golden

Generally start with it off, if your input signal peaks try -6db, still peaks -12db etc

From what I know of Airsoft guns is that they have a likkle nodule on the spring in the magazine that trips a switch on the main gun when it is empty. On some guns it will cause the slide to stay back and await the next magazine. Taping that down or better still, disassembling the magazine and...

Is that a lav designed for use with a wireless transmitter? If so there is your problem, they have different power requirements. The NTG1 will work with the DR40.

If you are shooting poets and lyricists I would say sound is your key medium, don't skimp on it. If you can't comfortably make out the words of a poem what is the use of the picture? Personally I think it would look kinda cute if you put up a huge dirty studio or stage mic right in front of the...

Tape it to an omni and roll your own adjustable pattern mic :cool: Don't forget to point the side of the mic at the source though not the tip:D

would allow for easy peasy digital switching between sources

I'm guessing (yet again) the built in mic must have it's own, totally separate signal route including DACs that can get routed to one of the tracks after the ext inputs have been 'solved' to a mono signal on the other. I can't see any way the solving of the balanced input outside of the digital...

Magic lantern is a firmware hack/upgrade for many Canon DSLR cameras. I assume it 'solves' the balancing internally with software, swapping the 'L/R to +/-. I didn't make up the cable but, again, assuming pin two goes to tip, 3 to ring and ground to sleeve. Magic lantern sees this as one mono...

^^^That holds up perfectly true for drama but if you are shooting low level ENG or run and gun style factual you can get away with a good shotty mounted on cam as long as you are within a few feet or so of a static subject. To answer OP depends on your application and resources (meaning manpower...

If you can, get the Promix, it will enable you to get far better audio (notice 'enable you' it won't give you better results on it's own, but won't get in your way as much). Used promixes go stupid cheap, afriend just picked one for £50 so well worth looking around. If you can find one for...

Never come across anything so complex myself but if I had access to the resources I would put a lav on each of the actors preferable into an 8channel recorder to take ISO tracks and boom each actor in turn during the close ups if there are any. If you don't have access to that kinda gear then...

If you shooting outside they should already be well hidden from drizzle under the talents clothes no??

As pointed out above they are designed to be sat on tables and operated by a static Sound Mixer. Could be OK for for studio style current affairs programmes/interviews or even reality programmes with a load of wireless lavs and a separate control room. This means you will need a separate boom...