My forté is not in dialog editing but I can shed some light based on working with and learning from some really talented people:
- Do you like 4 frames or 2 frames fade outs and ins on scenes?
- How long do you like your fades from
character to character in a scene?
Depends on the scene but I'd use 2 frames as the standard. That's how I prepare FX, BG and Foley tracks. Can't advise on the character to character fades but I assume it depends mostly on the amount of similar/dissimilar noise from angle to angle.
- Do you like muted extra tracks on the dialogue tracks in addition to
inactive AAF tracks at the bottom of
the session window?
This is basically a question regarding conveying information and organization. If you prepare a slew of muted regions but no one knows why there are there, then you've created a problem. If, on the other hand, you prepare a slew of muted regions and TELL the mixer what they are for and why they may need them, then you've provided options. Also, having the editor's tracks (OMF or AAF) running along in the session is CRITICAL. You will be constantly referencing and pulling material from those tracks during the mix, and if you don't have the editor's tracks then you've screwed up royally and will pay dearly.
- Do you prefer characters to consistently be on the same tracks?
Do you require this throughout the
project or just in a scene?
Principal characters should always be on the first four (or so) tracks of the dialog session, allowing room to split for new angles or locations. Secondary characters can bounce around a bit but it's better to keep them up near the top if possible. Definitely keep continuity within the reel but it's not necessary to have the exact same track layout throughout the whole project (unless you can pull it off, which would be fantastic).
- Do you want your dialogue editor to Izotope clicks and crackles?
Depends on a few things: Your proficiency with Izotope (don't render regions that are over-processed), the type of noise you're considering for reduction (certain noises may be better left to the mixer to work with), etc. If you do process regions with Izotope (or similar plugs) then be sure to leave a muted original in sync on a nearby track in case somebody doesn't like what you've done.
- Do you checkerboard your dialogue
from one character to another even if
it was recorded on one mic?
I think that depends on the scene but I would say generally no. You'd be creating extra work for yourself and may do more harm than good.