Thumbnails must render before export? Need workflow advice.

I am trying to figure out if there's a way that I can speed up my workflow.
1. Shoot a timelapse sequence (let's say 500 frames)
2. Import as .dng with 1:1 preview & smart preview generation
3. Make edits to frame #1
4. Copy settings on frame #1
5. Paste settings to all frames
Now here's the tricky part. I will wait for the progress bar to declare that it has finished pasting all of the settings to the remaining frames BUT the gallery previews still look like they did at import. LR5.5 dutifully begins to render the changes one by one.
If I have 50 of the frames visible then the 50 thumbnails will get updated. If I command-A (select all) and export all 500 frames at this point then I will always have some of the frames come out completely unprocessed - just as they were at import.
The only way that I have figured out how to avoid this is to scroll down in the gallery to a fresh set of 50, wait for them all to get new thumbnails rendered, scroll to the next set of 50, and so on. Once I've confirmed that all of the thumbnails have rendered then I can export with 100% success.
Is this expected behavior? What can I do to speed up this painful workflow?
I am working on a brand new Mac Pro 6,1 (cylinder) with 6-cores and 32GB of RAM. These files are stored on thunderbolt 2 while the previews and library are stored on the very fast built in flash storage.

I am trying to figure out if there's a way that I can speed up my workflow.
1. Shoot a timelapse sequence (let's say 500 frames)
2. Import as .dng with 1:1 preview & smart preview generation
3. Make edits to frame #1
4. Copy settings on frame #1
5. Paste settings to all frames
(2.) Why make 1:1 previews on import? They are only used when you zoom to 1:1 in the Library. If you don't create them at import, LR will make one for that specific shot if you zoom into it in the Library loupe view. There will be a few seconds delay while the preview is being created (whereas if it was created at import there will be almost no delay) but on the other hand you are not lumbering your system with hundreds of big previews that you don't need. Same question regarding Smart Previews. Why? They are used to stand in for the original shots only when the originals are not available, for instance because you are away from home and the storage drive. Do you really need them?
(3-5.) Select all the frames (Ctrl+A). Use the toggle switch on the Sync button to make it Auto Sync. Any edit you make to frame #1 will immediately be done to all the frames.

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I've always used Tiffs before as my export option from Photoshop, but just learned recently that I should be using PNGs. However, now when I use those PNGs in a timeline with custom sized video thumbnails, the render times are LONG. I'm used to rendering cause I'm on a 1st generation 17" MBP, but I'm talking an hour to render a 24-second sequence. The timeline consists of 5 PNG layers and 5 240x180 (Multimedia Small 4:3) 29.97 videos using DV/DVCPRO - NTSC as the Compressor and quality set to 50%. When I drop one of the video files into a new timeline, FCP6 asks me if I want to conform the timeline to meet the clip settings, and I choose yes, but as soon as I put any of the PNGs over the video, I get the orange Unlimited render bar. Any ideas as far as what's causing the Long times beside me being on a laptop? I figure it's gotta be something I'm doing wrong, just like I wasn't using PNGs before. This is for a DVD's Scene selection menu, hence the small videos acting as previews of each scene.
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Found the problem. The key was where I said "from Motion." The movie came in with Animation as the compressor type, so when I dropped it onto a new timeline, FCP asked me if I wanted to conform the sequence to match the clip, and when I chose OK, it changed the video rendering from YUV to RGB and the compressor from DV/DVCPRO to Animation. Now for the science of what I found and who I tested it all: PSD = 18 layers, 2.4MB TIF = "layered" Tif, 2.5MB PNG = 540KB
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Film workflow advice

Hello,
I need some workflow advice for a feature film and I would really appreciate some input and technical expertise. I am working with telecined footage from 16mm film and I need to perform reverse telecine with Cinematools so that I can edit the footage in Final cut. My end format will be a 35mm blow up from my original 16mm negative, so I need Cinematools to track my footage correctly so that I can later export a cut list for the negative cutter.
My digital footage is SD and is on DV cam tapes. The lab used a telecine speed of 23.98 when they transferred the footage. The lab provided flex files which I used to create a cinema tools database and to batch capture all of the footage.
First, I need to confirm that the footage was captured correctly.
To capture I used the FCP preset: DV NTSC 48 kHz (29.97 fps DV-NTSC Best Quality 720x480)
I did not use the FCP capture preset "DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal" because my understanding is that this preset is designed to remove pulldown during capture when used with external hardware designed to remove pulldown during capture, correct? In this case I will be removing the pulldown with Cinema Tools instead.
I also am assuming that setting the capture fps to 23.98 would have been wrong because my footage is coming from DV Cam tapes, which can only be 29.97, right? So even though the telecine speed was 23.98, the footage needs to be captured at 29.97 and then processed with Cinematools to make it 23.98 or 24 fps, correct?
Second, I need to know if my goal should be to make my footage 23.98 or 24 fps with Cinematools. If my end goal is to export an EDL for a negative cutter to go back to my 16mm footage to cut from, should I edit at 24 fps? I think the answer is yes, but then I am worried that my telecine was done at a speed of 23.98. My audio was recorded at 30 fps - though my understanding is that the fps of the audio doesn't matter since audio is recorded in time and not frames. However, I did read in the Cinematools manual that if the footage is 23.98 as opposed to 24 fps, then it means that my footage is going to playback at a slightly slower rate, thereby affecting audio sync. If that is true, will I have to slow my audio slightly to maintain sync? This doesn't seem ideal.
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I am worried because another person worked with this footage before me and I fear that they performed reverse telecine on the footage already (and incorrectly) and directed Cinematools to overwrite the original file instead of creating a new one. If this is true then I would have to start over and recapture everything. On the other hand, it seems like if that were the case I would see the problem in FCP as well. Is there a way that I can tell for sure?
Thank you so much in advance for any advice you can give me! I really appreciate it.

Thanks Jim. The project is sort of like an "extended music video".
So it is a record, 45 minutes long and then using that as a guide,
we shot the footage. Its not gonna be just lipsyncing all the time, but
there will be other things inserted there as well.
It is just the workflow that bothers me and mainly:
1 Should I convert HDV material after capturing with prores 422 or stay in native
2 When should I convert from PAL to NTSC?
3 Should I s t a r t, by importing the 5.1 surround mixes to FCP6 and then work
with that as a guide?
I´ve done some music videos before, but this is more like a music movie and
will be sold as a sales DVD.
I would appreciate any help you guys can give.
Thank you, timo

Thumbnails must render before export? Need workflow advice.

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