Hey there. XMP files show up in two forms. For clips and such, there should be one created for every clip you import that has a file. Clips you make that reference other imported material, subclips, actually place thier related XMP info into the project. When you package the project using the wizard, so you can move it all, I've had mixed results. Sometimes the XMP's move, sometimes not.
The best practice I've found is to create marker types for each person in the settings in a standard project file everybody starts with. Now I can see who marked what when I want to, or turn off the marker types I don't want to see, but they all show up with the clips they are attached to. This creates less confusion among coworkers, and ultimately provides more cooperation. Since all have access to the markers, they can be deleted or edited by anybody. I don't get paid by the marker, I get paid for the finished product. If somebody wants to rename or otherwise "handle" a marker, so be it. It's a good practice to see who last put a marker on the clip, so you get insight into the thought process going on.
There are also plugins that will export a markers list to a file so you can keep track of your markers, which should be done after every session. This lets you follow what's going on for each person, and if there's a battle of the bands, you can have a team leader give the final word and picking one, or creating a new marker of their own (but you won't be able to lock it down). This works for having everybody able to see each other's work.
Another practice that works alright is putting the original clips in one completely available place, and, using matchframe from where you want to place a marker, place the marker on the clip. At the end of your session, you can render the clips to a local location. When working from then on, you can replace the clips with your local version at the start of the session, and once more with the network clips at the end of the session, keeping you XMP files local. This will separate markers for different editors, but requires them to have the responsibility to relink to the original clips. At the end of the project, the downside for this is that you'll have to relink each set to put them all into the project without duplication, by placing it on the timeline at the point where they show in the clip, an operation that is tedious for long videos, but not so much for shorter compilations. It also only keeps the most important markers and allows you to fill in new ones at cut-type edits.
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