In the film and TV business this is called conforming an edit since the editors work is already done and the original high resolution footage needs to be conformed to the edit.
Currently when a TV series edits on downconverted standard definition DVCAM
after the edit is complete the nonlinear editor's edit decision list with timecodes (as XML of AAF files) is used to conform the original high definition tapes. Usually this is somewhat automated once the footage is loaded in. Dissolves and effects are rendered, CGI visual effects are added and a master is ready.
Back in the 1980s and 1990s though the tape-to-tape linear videotape editing systems had an EDL (edit decision list)
which was a semi-proprietary format (usually saved on 3.5" floppy discs) that had minimal information such as tape# and timecodes in & out for each edit
to be able to edit from videotapes of the film telecine to create a videotape master. If that EDL material were printed out and saved it would help assistant editors and a post-production-supervisor's work on TNG-Remastering.
If not then all the raw 35mm footage will take a lot more effort to catalog the 35mm film to be able to locate scenes and takes used and then edits eye-matched to the original master.
This is a good point that I was going to make. There's a relatively good explanation of how TNG and DS9 were edited down to video in The Making of DS9
. Everyone keeps saying that it would need to be edited from scratch, and that may be true if all the original stuff from editing is gone. But, I'd imagine that if they bothered to save the original film elements then the edit logs are probably still kicking around somewhere too.
So, it might be a somewhat arduous task to re-create the episodes but nowhere near as bad as having to eyeball the whole thing.