Tentacle SyncMaps & custom proxy presets for a multi--cam-multi-audio-, bilingual shoot

Hello,

I'm learning Media Encoder and Premier Pro  so that I can protype, iterate and tell stories on a website now, and prep my media for a professional editor in the future.

I'm working with current versions of Adobe software,

using an Apple M1 Pro chip, Sonoma 14.6.1.

My media is  filmed on two (2)  Sony ILME 3  (422  & 4Ch audio) +  up to six (6) Tentacle Track E recorders (32-bit float), and  Tentacle Synch devices to generate TC for the cameras.

Tentacle produces a synch map, synching all cameras and all channels of audio, and exports an .XML for Premier Pro.

I  drag and drop the .xml into my Premier Pro 2024,, and it ingests the footage.

Q.0 - do I need to use Tentacle synch mapping or can Premier Pro 2024 synch my daily shoot material just as easily as Tentacle Studio? 

Assuming I continue using Tentacle Synch's Studio to make a synch map, and given that my computer is modestly powerful

Q 1. When should i make my proxies? should I make them first and then drag them into  Tentacle studio and make the synchmap, and then use the synchmap to ingest the footage into Premier Pro 2024?

In other words, I don't use the  H.264  original media in either ME or PP to offline but I can toggle the H.264 on when I want to online? - correct?  

Q. 1  Some of my future colaborators are PC based, and we may edit on Adobe's cloud using productions:  will ProRes or Cineform proxies allow both PC and Mac-based editors to work? Are there other advantages that recommend cineform over ProRes or is it mostly a preference. (I've always been mac-based but not everyone is.)

****Q.2  How many channels of audio should I have on my custom proxy preset: Four (4) for the camera set to record four-channel audio?  OR

Four (4)  for each camera = 8 ?  + 6 tentacle trackEs  = 14?  if I want to be able isolate each channel of sound? 

( two (2) cameras x 4 + six (6) tentacle recorders = 14)

32-bit float, because the Track Es are 32-bit float?

Q.3  I want my proxies to be light, because I'm preparing to work in the cloud using Premier Productions and because I'm shooting a lot.

 I believe to do that, I start with the ProRes422 Proxy preset.  Right? It's only for offline?  and it is easy to switch to the original media when I'm ready to export. 

Q. 4  when it comes time to ONLINE, do I link my  picture locked video to the original Sony H.264 codec and export it using another apple preset at full resolution, so that I can colour it?   What PreSet do I use at that time, to online on the same computer? does that depend on where I'm going to show my prototypes? -- ie.  Vimeo = vimeo  preset? Q. to use transcription is there any way for Adobe to be assigned to detect  more than one language? or do I isolate by language, and transcribe in blocks, by language spoken.

Thank you so much.

AE