As a sound guy I am very experienced in Film, TV and ENG sound recording and editing. I used to use the industry standard HHB Portadat TC for many years, but now use Edirol R4-Pro Time Code (I have 2 of these) & an Edirol R44 . All are 4 track hard drive and solid state (R44) mixer/recorders which fit into the workflow easily and effectively.
I have a useful selection of microphones which includes;
Neumann KMR82i, long mono shotgun;
audio-technica BP4027 long Stereo shotgun;
audio-technica AT835ST short Stereo shotgun;
Sony C-75 long mono shotgun;
beyer dynamic MCE 86N(C) short mono shotgun;
and a venerable Sennhiser 815t (mono long shotgun mic);
Micron radio sets with Tram 50 lapel mics.
All combined wth Rycote, Audio Technica and Lightwave windshields; VDB, Panamic booms and the usual Beyer headphones. (Full kit list here.)
I can ADR on location, anywhere that is reasonably quiet using the location or the sE Electronics Z 5600 A valve microphone.
For large scale studio work, location, ADR, live work, music production I have a DigiDesign Pro Tools HD system with all the normal plug ins; more than enough tracks for foley, 5.1, 7.1 mix, or broadcast standard music performances. Click here for examples.
I can edit sound in Final Cut Pro and use other software programmes, eg, ProTools for individual track editing and preparation.
Using a Mac Pro in FCP, ProTools and Soundtrack I can create multilayered sound designs from my own and purchased extensive library of sound effects. Examples are in the the Leslie Grantham clip where original music is mixed with wild wolves in full throat giving way to emergency sirens plus a number of other effects. More examples here soon.