Audio Prep on Chaotic Shoots: Compromises for Tight Deadlines?

Hey everyone, Annika here. I'm currently editing a docu-series, lots of run-and-gun interviews and quickly-staged scenes. We used an ALEXA Mini for a lot of it, sometimes a KOMODO, and audio was a mix of a MixPre-10 II with MKH 416s, but honestly, the sound department was constantly battling crazy environments and quick turnovers. We're talking zero time for meticulous 'Alts' labelling or detailed metadata in the field.

Now I'm in post, and the delivery deadline is looming. In a perfect world, every clip would be perfectly organized, but that's just not the reality here. My usual approach is to flag everything questionable and try to make sense of it during the edit, but I'm getting bogged down. What are your go-to 'good enough' strategies or compromises for audio prep when you've got messy production audio and extremely tight delivery schedules?