Part 2 of this concept is that they build in time/budget/attitude that there will need to be some serious "below the waterline" work done on the audio in post to make it all match/work and be acceptable to QC departments. There are always a few moments that can't be entirely rescued, but not too many. This has worked for us/me on many films so far, great and small. You may notice that most of the above verbiage has to do with recording audio on the camera--this is not my fave of course but it seems like most lower budget filmmakers prefer the simplicity of this approach. If you think your film might go theatrical there is a lot to be said for figuring out a workflow that includes double system audio. A colleague of mine recently shot an indie feature on an HVX w/ double system audio--they worked out a pretty efficient system involving a "laptop boy" downloading both P2 and CF cards on the set and syncing them up right there (FCP) onto drives that were then sent to post. While not always practical for many sorts of docs, this seemed like a good method for a dramatic project.
I feel like what I've said is probably too "film 101" for most people here--but I wasn't sure what sort of specific info or experience you were looking for?
Philip Perkins CAS