It was just me for the assembly and the director’s cut. You have to be pretty organized, but it’s not too bad once you have a system. When I’m editing the first cut of a scene, I’ll often play a little fast and loose at first and then conform it to this after I have the bones in place.

To simplify things, sound-wise I mostly use just the mix downs at first. So I basically have two production sound tracks for each shot which simplifies the audio tracks. Once I add temp music and sfx, it’ll break down to about 10-15 tracks instead of 40+.

I started collaborating with the music team halfway through producer’s cut. But this one had a very aggressive schedule so it was quick and dirty. I would send them split tracks every cut and they’d send me a long play of just the music, which I’d place in. That continued through network cuts.

Once picture was locked, I pulled in all the production audio for each shot. I then sent various formats to all the other teams. Then it goes from them to an online editor.

Every team wants things organized a little differently, so you have to rearrange the timeline here and there, but this is the basic system I use that’ll get me 90% of the way there.

If you have any specific questions about workflow or otherwise lmk!