Sound Report Realities: What's Your Biggest Compromise?

Hey fellow post-production wizards and on-set warriors! As a VFX compositor, I really rely on accurate sound reports, especially when dealing with complex plate comps or clean-up. We all know the theory: meticulously detailed takes, precise sync notes, scene numbers, etc. But then you get on a chaotic set. I just finished a gig where the director was constantly changing shots on the fly using an AMIRA, and the 1st AC was already swamped. The boom op, bless his heart, was running around like crazy with his 833. I ended up with some reports that were... less than ideal. Mostly just 'Good Take' or 'Bad Take' with no real rationale, and barely any wildcard notes. What's the biggest compromise you've had to make on a shoot regarding sound reporting, and how did it impact post-production, or what did you learn from it? I'm curious about the real-world experiences.