FIlm Offline to HD Online questions

Hey everyone,
I am an experienced Final Cut Pro user, working mainly in television, and am starting a new film project with a few questions.
We shot a feature length film, Super 16, one-light telecined to DigiBeta that was downconverted to DVCAM for us to offline edit on our Final Cut system. We were provided with Flex files for each reel and we're currently batching everyting in from the Cinema Tools Database we created into Final Cut.
Then we plan to edit the film and upon final cut, export a cut list to the film lab to re-telecine selects of the film, as a best-light, to HD. We plan to do the online and finalize everything in HD. Then possibly do a print out to film once the HD master is complete.
Two main questions:
1. Should we edit in 29.97, which is what we're currently diging our footage in right now? Or should we reverse telecine our clips and edit in 23.98? Remember our final format will be in HD.
2. When we produce our final cut list (EDL or Final Cut Pro project), the lab is going to telecine the film to HD which will create new timecode information and new Flex files for the online footage. What is the easiest way for us to uprez the final project of the film from the original offline DVCAM footage to the new HD footage?
Obviously most labs offer Online services, but we have the ability to online ourselves and would like to save that money. However we're missing that step of cross-referencing the film keycode information with the DVCAM timecode to the new HD timecode. Is there an automated way to do this, in Final Cut, or Cinema tools?
Thanks in advance.

1- If you reverse telecine your clips, the flex file becemos useless since it was mande at 29.97 from the tracker in the original best light telecine transfer. Edit at 29.97 then have Cinema Tools change the EDL to 23.98
2- The part about re-telecine the whole show was (in my opinion) not a smart one since you'll have new lists, new timcode. The upconvert or uprez is not going to match unless they do the new re-telecine with the original timecode from the Dbetas, making sure that the same events are made on the "A" frames in the film keykode and 00's on the timecode (then the downconverting problem would be avoided).
If you plan to do an "Online" with your system you must have an HDCam deck, and have a correct capture card with the Final Cut. Why don't just have the neg cut of the final edit and then have it transferd in HD instead of doing the whole re-telecine of each clip for the online? It seems a lot of problems to go through the whole re-telecine with new information.
This is just my opinion, I might be wrong though. Hope this helps!

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