The work flow on a feature is very different to documentary or short form. Mainly because you are dealing with something that is scripted and performed.
On set, the Script Supervisor will have a very detailed breakdown of all the slates & takes, which will include notes of which takes the Director prefers. Nevertheless, I will always watch every frame of every take because 99% of the time you will catch some gold that people on the frantic, pressured film set have not seen. Often, it’s tiny, macro performances that can help bend the emotion/motivation of a scene a certain way.
[BEWARE : SPOILERS INCOMING!]
A good example was on Steel Country. In the script there was a scene where the main character approaches the mother of an abducted child and they have a conversation about it. In the edit we wanted to move the scene to after the child is found dead. Based on the scripted dialogue this seemed practically impossible, but with some cuts to the dialogue, a couple of lines of ADR and some helpful macro performances from the actress playing the mother, we were able to convincingly recut the scene with her being numb from grief instead of worried, which massively changed the tone of the early part of the film.