Frame Rates, Scaling and All That Cal

So after deciding to incorporate more GoPro HERO and Canon Vixia HF G10 footage into Rats & Gassers: Kustom Kulture Takes A Ride with the sixteen plus hours I already shot in Standard Definition on my trusty Panasonic AG DVX100 footage, I needed a new game plan. It took all day and hours of reading internet post after internet post about mixing footage, workflows, Final Cut Pro timelines etc. etc. to figure it out. This is what I came up with-

GoPro Hero Footage (shot setting 5 which is sized 1920 x 1080)
1. Load clips onto desktop.
2. Use MPEG Streamclip to convert the MP4 clips to Apple ProRes 442 (HQ) .mov files. Keeping frame rate at 29.97 (not like in the picture in the upper right where I have it set at 23.98)
3. Use Cinema Tools to "conform" the clips to 23.98. This eliminates any possible jerky frame rate conversion, like I experienced when doing the conversion in MPEG Streamline.
4. Drop clips into Final Cut Pro timeline set at Apple ProRes 442 (HQ) 1280x720 24p 48kHz and speed up 125%.

Panasonic AG-DVX100 Footage (shot SD 24p 720 x 480 letter boxed)
1. Capture clips in Final Cut Pro.
2. Use Cinema Tools to Reverse Telecine (now clips have the .rev filename extension and are at 23.98 frame rate).
3. Drop into Final Cut Pro 24p 720x480 timeline and export as .mov files.
4. Drop into Final Cut Pro timeline set at Apple ProRes 442 (HQ) 1280x720 24p 48kHz and enlarge 200%.

Canon Vixia HF-G10 Footage (see note below- added 10/12/12)
1. Load clips onto desktop.
2. Use iSkysoft Video Converter to convert the .mts files to .mov files (seems the only easy program I can find to convert the .mts Canon files to HD .mov files, but they still don't drop easily into the Apple ProRes 442 (HQ) 1280x720 24p 48kHz timeline).
3. Use MPEG Streamclip to convert the HD .mov files to Apple ProRes 442 (HQ) .mov files. Keeping frame rate at 29.97 (this step seems to fix all Final Cut Pro / Apple ProRes 442 timeline issues).
3. Use Compressor to Reverse Telecine and export at Apple ProRes 442 (HQ).
4. Drop into Final Cut Pro timeline set at Apple ProRes 442 (HQ) 1280x720 24p 48kHz.

As you can see now everything sits pretty in my master Apple ProRes 442 (HQ) 1280x720 24p 48kHz timeline. Now of course to put it on standard DVD, I will have to export in lower resolution than 720p but if the film does well,  I can easily go back, separate and send out the SD footage to be professionally uprezed for BluRay, etc.

NOTE: Since writing this I found that the Canon Vixia HF-G10 Conversion Process I mentioned above gives a jerky look in Final Cut pro 24p timelines. but only on certain clips. I think what was happening was the 29.97 frame rate being converted in Compressor was not getting a clean frame removal for fps conversion to 23.98. I now use Brorsoft's MTS Converter and then run through MPEG Streamclip to make sure the files have no issues in FCP.