I find the stereo track thing to be more cumbersome in Pro Fools, especially for film & video. I ALWAYS find the need to process one side or the other differently (either level, e.q., more or less compression, clicks &/or other noise issues, etc.) and this becomes cumbersome when the audio is a locked "Stereo" track. Particularly important with levels on stereo track recorded 'in the field' (subject to extraneous ambient 'polluters' & engineers unable to recognize phase anomalies, so you need to 'lean the sides in to center' differently in different sections to compensate for the amount of phase correction needed). Saves have to 'split track in to mono' & all that comes along with that, i.e. adding even MORE tracks to already glutted sessions AND having to remember NOT to delete the source tracks before having altered the 'separate' tracks, renamed them, consolidating & re-saving them all PRIOR to deleting them!

I find the stereo track thing to be more cumbersome in Pro Tools, especially for film & video. I ALWAYS find the need to process one side or the other differently (either level, e.q., more or less compression, clicks &/or other noise issues, etc.) and this becomes cumbersome when the audio is a locked "Stereo" track. Particularly important with levels on stereo track recorded 'in the field' (subject to extraneous ambient 'polluters' & engineers unable to recognize phase anomalies, so you need to 'lean the sides in to center' differently in different sections to compensate for the amount of phase correction needed). 

Saves have to 'split track in to mono' & all that comes along with that, i.e. adding even MORE tracks to already glutted sessions AND having to remember NOT to delete the source tracks before having altered the 'separate' tracks, renamed them, consolidating & re-saving them all PRIOR to deleting them!