Synced and Raw Footage not connecting to R3D or Proxies properly when compiling master

Dragging clips from one project file to another has ... potential issues ... to be mild.

I'm wondering why you aren't using the expected form for this type of work, a Production, rather than stand-alone project files? The problem would simply not be there within a production. Which uses an actual folder structure within Premiere with many included project files for each part of the workflow. 

That all natively sync together across project files.

Premiere Pro Productions Introduction

Using Productions in Premiere Pro

Adobe Long-form and Episodic Best Practices Guide 

Jarle’s blog expansion of the pdf Multicam section: Premiere Pro Multicam

I noticed Kevin-Monahan's pinned post in the forum after I posted unfortunately so I wanted to add what information I can here to expand as much as I can.

• Issue : When footage/timelines are dragged from one project into another the program reads the PROXY files as though they are the RAWs/R3D (causing a linking and scaling issue)
• Adobe Premiere Pro version number: SYNCING project created in V 23.6.2 on DIT's PC then opened and updated in V 24.1 by the AE
• Operating system : Windows 10 Home (22H2) [I believe this is the same across the board for all team members]
• System Info: CPU, GPU, RAM, HD: [THIS IS NOT THE SAME ACROSS THE BOARD - THE FOLLOWING IS THE MAIN PC USED WHEN COMPILING, BUT NOT THE ONLY PC USED TO COMPILE]

• CPU : AMD Ryzen 7 5800X 8-Core Processor 4.20 GHz

• GPU and Driver Version : NVIDIA GeForce RTX 3070 [v. 31.0.15.3623]

• RAM : 32GB

• Hard Drive : This varies, main production drives are typically Seagate or Samsung 8TB connected with USB 3. Proxy drives are typically Seagate 2TB connected with USB 3. Then main network drives where we store all the footage are NTFS 50 TB hardwired to the computer described or accessed through QuickConnect when remote.

• Video format: Camera creates both raws and proxies; typically 8K R3D and 2K Apple ProRes 422 LT [mov]
• Timeline created is typically 4K 
• Workflow details:
• DIT creates project (per day), attaches proxies created in camera to raws and syncs the files
• AE duplicates project and preps timelines and bins (typically start working offline here)
• AE/LE assembles scenes (offline) within project (adjusts, edit, repeat until 'complete') 
• AE or LE compile all timelines from each project into a new project to create the master timeline (still offline)
• When master edit is complete LE sends Premiere Project to the colourist who reconnects to RAWs and exports XML
• Steps to reproduce :
1. Create new master project file.
2. Pull created timelines into new project (allowing sync files to populate)
3. Check files/timeline for changes This is typically where the issue begins or where we have noticed the issue pop up.
• Expected result - All files should retain the same properties from the previous project, even while offline, knowing the path/name of the HIGH RES footage and proxy footage within the same synced clip
• Actual result - Synced clips start to read the proxy files as both the HIGH res footage and proxy footage. (sometimes it says the proxy is offline and the clip believes it is connected to the high res but is replacing the raw with proxy file) Due to this the clips appear as though they are windowed within the preview (refer to image attached to the original post here)
• When we attempt to disconnect all media and reconnect to high res we run into the issue of not being able to reattach the proxies to the synced media; even though they were synced together initally it reads as completely offline.

I hope this additional information helps us find a solution to our current issue.

As stated before the only change in our workflow is the updated version of premeire.

Thanks for any help!