it's been a while since I worked FT on Sitcoms. Back in the day we used 1/2" 4 tracks, and later DA88 to record the sound.
My 2 cents is;
know that your boom operators will make or break you. Wheather the are overhead in the "greens" or on the floor with fishpoles. Be ready to do run throughs during the camera blocking and keep on the good side of the LD and his crew. They too will bury you if you cross them.
TC generation should originate from the sound booth, be time of day and feed to the TC slate. It also should be the proper frame rate for the camera and the video editors. I know this is old school, but find yourself a used PT mix 24 system with a single 888 and USD I/O. You said you have a couple of mackie mixers. Use one to record the production sound on stage. Get a couple of DBX 160 comp/ limiters and insert them on the production microphone channels. Find some one to work as your recordist. Mixing and start/stopping and logging tc numbers and takes on the production audio is not a one man job. Accurate sound report logs are as if not more important than good audio. Remember that any line pick ups, walla, room tone will not be in the same time line as where they are needed in the final mix. Accurate sound reports are a must!
It is going to get VERY crazy on a Pilot and a limited budget, and first time production company. The KISS approach is highly reccomended.
Best of luck with the show, and as we always say at the end of the day "Well, we fooled them again"
