Duplicating a portion of Pro Res media for use in another project

I'm working on a compilation video which is drawing from many different interviews.   I need to duplicate certain sections of 1080p 29.97 Pro Res timelines and then bring them into a new FCP 7.0.3 project.
The clips will be pulled from many different external drives. And I can't connect all these drives together at the same time.
So my question is...when I am on the FCP timeline of one of these older projects, how do I best copy a section of it while keeping it in Pro Res and hopefully not having to recompress it?   I don't want to go back to the AVCHD camera files that it was generated from.
Would I "Send to Compressor" right off the timeline and use one of the Pro Res settings? Same as source settings, etc.
Or would I "Export as a Quicktime" movie off the timeline? Settings info?
I am trying to preserve the image quality but at the same time this will not be for broadcast.   It's for a non-profit's website.
Any advice on this would be very much appreciated...
Thanks,
John

If you are trying to Media Manage selections from a sequence that span multiple clips, then create a new sequence and copy and paste all the selected parts into the new sequence so that it contains only the selected sections of content you want to copy and consolidate.
Then, with that new sequence selected, open the Media Manager and make sure that Include Master Clips outside selection and Include Affiliate Clips outside selection are unchecked, and the Delete Unused Media from Duplicated Items is checked.
Unless you are leaving room for handles in your selection process, check Use Handles and dial in a duration, so that your clips have some padding.
MtD

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You probably wouldn't want to use that particular file as it's an output file. You would likely have better luck using the ProjectName.BRS file as that one should be a source file.
However, keep in mind that whether (or how well) this will work will entirely depend on having the recipient project using the same identical structure and identical file names.
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If I imported proxy media to edit in fcpx, can I export a hight resolution (apple pro res 422 (hq)) version of the project ?

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This is my last question (I think).
Would standard printed out on hdsr essentially look the same in this situation that I shouldn't bother with the HQ?
A gentleman made a comment that I don't need HQ for capture but I am reading a lot of commentary on this.
My feature film has a lot of effects, it is prepared for conversion from a 10bit digibeta sd file that was rendered out from an sd file.
My end delivery is going to be cable broadcast and hdsr master, (though I know just for hdcam standard would be ok).
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Nobody calls me a gentleman and gets away with it!
There are many resources to heop you decide on a ProRes codec appropriate for your task. However, youmust weigh the processing cost of inadequate hardware against the possibly indiscernible difference in the HUGE difference in file sizes and heavy lifting.
http://16x9cinema.com/blog/2009/7/31/sorting-out-the-apple-prores-family.html
ProRes 422 (HQ)
Visually lossless - highest-quality professional HD video that a (single-link) HD-SDI signal can carry.
Supports full-width, 4:2:2 video sources at 10-bit pixel depths, while retaining its visually lossless characteristic through many generations of decoding and re-encoding.
Apple ProRes 422 (HQ) can be used both as an intermediate codec to accelerate workflows for complex, compressed video sources and as an affordable, high-performance alternative to uncompressed 4:2:2 video.
Has some subsampling of chroma, but retains very high quality.
Supports 4:2:2 sources like DCVPRO HD, AVC-Intra,/100, XDCAM HD422/50.
Data rate about 220 Mbps.
ProRes 422
Visually lossless, full-width 10-bit, 4:2:2 at lower data rate than ProRes (HQ)
Offers better multi-stream RT editing performance. For most video applications, 422 is "good enough."
Data rate about 147 Mbps
The comparison in data density between HQ and vanilla 422 is 220/147.
If you have the chops to KNOW you need to maintain this kind of image integrity then you have the hardware to accommodate the chore. If you have the chops but not the rig, forget it, you can't afford the time. If you have the rig but not the knowledge, forget it, you can't realize the benefits. It's a pretty simple decision matrix and, while you will get some recommendations, you're the only one who can pull this trigger. It's going to cost you time or money or both.
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The Apple ProRes format comes in five versions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Apple ProRes 422 (LT), and Apple ProRes 422 (Proxy). The following list describes the features of each version. For a complete comparison of the relative data rates of the Apple ProRes codecs, see Apple ProRes Format Specifications.
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The Apple ProRes 4444 codec offers the utmost possible quality for 4:4:4 sources and for workflows involving alpha channels. It includes the following features:
Full-resolution, mastering-quality 4:4:4:4 RGBA color (an online-quality codec for editing and finishing 4:4:4 material, such as that originating from Sony HDCAM SR or digital cinema cameras such as RED ONE, Thomson Viper FilmStream, and Panavision Genesis cameras). The R, G, and B channels are lightly compressed, with an emphasis on being perceptually indistinguishable from the original material.
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