Yes, a locked picture is nice (in a perfect world)
Definitely handles. Without these, there's really not much to edit.
A sensible track layout. Don't randomly put unlike audio on the same track. It takes time for a sound editor to go through and split these out and trust me, they'll be cursing you the whole time. For a typical documentary, I like something like this:
Dialog/Interviews (bonus points if each interview subject is on their own track)
Nat Sound/Prod FX
** I've done many projects where I know RT was recorded on set, yet the editor has been too lazy to put it in the timeline. It takes time to hunt for it in a region bin (assuming it was named something logical). If it wasn't, then I have to spend even more time hunting for snippets of fill within a line or scene, and these are usually to short to make a decent fill loop.
Don't jam everything onto a half dozen tracks. Personally I don't care if I get 20 tracks in an OMF, as long as they make sense.
And obviously the correct TC frame rate, bit depth/sample rate, etc.
Thanks for asking. Don't worry about the sound dept. thinking you're a noob. If you are, that's ok! I think much more highly of someone asking me "How can I deliver assets so that you can do your job most efficiently?", rather than hand me a rat's nest of audio tacks and saying "deal with it".