I'd be interested to know how the assistant organized it for you. Is it a case of just throwing locators at the head of every shot or full transcriptions in the bin's Script view?
Anyway, get this book and look specifically for the "Scene Cards" section. It's only a couple pages, so you might wanna sit in the aisle at Barnes and Noble taking notes.
http://www.amazon.com/Behind-Seen-Walter-Edited-Mountain/dp/0735714266
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Some of my own processes:
For Biiiig projects, I'm a devout subclipper. It adds time to the head of the edit, but subtracts significantly more from the middle. Load all the tapes in whole chunks; have myself or the assistant subclip each shot into another bin (named for that tape). Briefly sum-up the shot in bin script view. If you have a producer sitting next to you, they LOVE the quick call-up ability of this manually-created feature.
I'm also Hell's color coder. Set timeline to display "source". Switch to bin text view and color-code each clip - then with colored paper and Post-Its, make the Walter Murch scene cards and stick 'em to the wall. Sometimes up to twenty different colors. This manual process helps you get immediately familiar with your characters; their subject matter; and their corresponding tapes. You can walk fresh into a project, and a week later know as much about it as the producer.
BTW: I blame my neurotic color-coding on the guy that invented these:
http://p.office1000.com/mrp/MMXC13UBIC.jpg
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`(=)`/...Pixel Monkey
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A picture says 1000 words. Editors give them meaning.
