Thanks everyone for all the information. It confirmed what i thought.
IMHO, float audio is a bit like RAW on cameras. There's a whole bunch of workflows and opinion that really doesn't get RAW or in fact needs it. But once you are working in a RAW environment it's wonderful. You can work a bit faster knowing that you have managed to capture everything you need to in order to give some creative decision making further down the line when it's less frantic.
On the sound side if it's a full on production then we'll have dedicated sound dept with all of their standard tricks, experience and kit.
But if we're doing a short, pilot, or something at a lower level - having float audio offers just a little bit of a net. I've been burnt in the fast working too fast and screwing some levels up on audio. And i've done a couple of things where float has really just helped.
I don't see anything *wrong* with it - it doesn't appear to be a trade off for some other aspect. Storage is next to nothing and application support is helping. So it makes sense. Doesn't remove any jobs, just gives a bit more wiggle room.
All IMHO of course as all of our work will differ!
But really appreciate the responses!
(i believe tentacle have a 32 bit float box coming out that you could pop on a boom individually and have that basically 'wireless' in a sense. And being tentacle sync shouldn't be an issue. It's an interesting idea.,..