Im planing on shooting a short film (10 mins) with my FX-1 for later transfer to 35mm, the video part I have it all figured out, its the sound that i havent gotten yet.
We will have an audio console on the field so the mics will run thru it and the audio guy will tweak them on the fly. My question is..... will I get a good quality sound if I run 2 XLR cables (line input) to the DXA8 and into the FX-1? My other idea was to record the audio to DAT, but I would love to avoid the clapper board syncing. And of course option 3 will be run cables to both a DAT and the FX-1 to have options. But anyway.,.... will the the console-dxa8-fx-1 option work?

Thanks,

Adrian

connect the mix to the DAT and from DAT line out to the line in of FX1 (switched to line in mode). This will give you double sound without need for syncing.

The DXA-8 won't directly accept line-level signals without overdriving its inputs. You'll need to attenuate the signal from the mixer, either with on-board switches if the mixer has them and/or with additional inline attenuators.
The DXA-8 is sensitive enough to require attenuation with some hot mics, so be wary using a mixer output even if set to "mic" level. You could also use a DXA-6 if you haven't already bought the gear, it would work directly but you would have to rely on the camera's preamps for gain.
If you have the equipment, personnel and time in post-production, using double-system sound recording would be the highest quality route.
I wouldn't use DAT though if you can instead use a solid-state or hard-drive recorder. It will be more reliable and easier to transfer to your editing system.
I would send cables from the mixer to both the camera and the separate recorder. I wouldn't use the loop out from the separate deck because this can induce significant delay depending on the monitoring circuit. Using two pathways also gives you added safety against cable failure. Recording on both the camera and separate recorder doesn't avoid the need to re-sync later, it just makes it a little easier. You'll still need to keep excellent notes and use good camera operation practices, slating and other tricks to avoid a painful time in post-production. It isn't syncing that's the pain, it's finding what you need to sync that becomes the biggest hurdle.