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I go for: same sound, same track. Same dialogue sound same track. Chequered when necessary for the mixer(which is me a lot of times). Perspective cuts, different track, but watch the roomtone transition. Does the mix require enormous gain change on the next line ? Then cater to it. If possible get to know the dialogue mixer and their preferences at the first opportunity. That person is your collaborator as much as the production sound mixer, the picture editor (and their hopefully excellent assistants who know where all the files are) and the director.
You'd best attend all the dialogue mixing sessions you can, to get a feel for it. The mixer depends on you, or else someone will need to fiddle with your edits during the mix.
And keep a non-denoised edited copy of the material handy, ready for use during the mix. Deactivated tracks are your friend(Protools).
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