Workflow and Compositional Question

I have footage from 22 GoPro cameras, mp4, which I have imported natively into AE (11.02, OS 10.8.3 Mac 2.66mhz Quad Tower 16g of RAM) into 1 composition. I plan to achieve the effect desired and then output a production codec, 422 prores for inclusion in my Premier project timeline. Is this a valid workflow?
Next the compositional question:
Most of the 22 cameras (in an array) recorded two or more files of the 16 mintes of run-time, (there are 6 separate takes in that time period). I pre-composed those footage files (after aligning a slate and for the seamless play of each layer) to neaten up and make more compact my AE timeline.
The effect I'm trying to achieve is a Time-Slice/Bullet Time where I can "cut" from one camera to the next all along the array, thereby freezing the action, but having the "camera" move around the subject - and then have the last layer/camera keep playing. At the precise frame I want to freeze I put the opacity of each layer to 0 successively at the desired "freeze point" however in my ram preview only the first footage layer plays. Without the opacity transformation on each layer I can achieve a rough version of what I'm trying to do by Solo'ing each individual layer and I cannot figure out why making each layer 0 opacity successively isn't working.
Also once I completed all the Opacity transformations, the bottom layer should be visible 1 frame after the layer above it goes to O opacity, but it is in fact BLACK! What the heck?
Do I need to slip each layer 1 frame forward in time so only 1 frame of each layer plays? Again "turning on and off" each layer with Opacity? I've found the answer to this question, at least for now. Each successive clip gets trimmed to the desired frame, then slipped one frame in front of the layer above (save the top layer, which is trimmed to the frame). This way the same frame is played over and over from each camera along the array.
Have I made a mistake by using the Pre-comps mixed with the 1-take footage? In other words, my main comp now includes Pre-comps of the 2 files produced by most of the cameras, along with the original mp4 footage of those cameras which only recorded one file for the action.
And further; once I have the frames visible in the correct order would I Pre-compose again and apply a sfx like pixel motion to interpolate between the difference in angle/frame due to the difference in each camera's position? Please suggest an alternative workflow or compositional layout!
I hope I've been clear, I'm here and willing to clarify if I've omitted any details.
I still would appreciate answers to the remaining issues if anyone has input for me. The question now is: to time remap, or timewarp (which one?) before Pixel Motion - and is Pixel Motion best for frame interpolation to smooth it all out?
http://i1218.photobucket.com/albums/dd402/jessedavidharris/ScreenShot2013-03-30at31603PM.p ng
Thank you very much,
Jesse

Ok believe it or not I'm still having problems with this process. And please excuse my ignorance about Alpha Channels. Your instructions should be easy to follow, but I think I'm getting confused with some language. Please allow me to let you follow my workflow - point out where I'm in error.
This is the Bullet Time Comp - referring to your 1. Comp. I render this comp to a 422PR .mov and call it Bullet_Time_v3_DI_422
I then take the above DI and import it to the Project and place it in a separate comp called BulletTime v3 DI 422, and then add an Adjustment Layer with Timewarp to Speed Up the bullet time. This refers to your 2.
Next, from this comp I render out another 422PR DI, WITHOUT precomping the Adjustment Layer and Footage, is that ok? Giving me a "Speed Up" DI. And this is where I get shaky... This is the part I don't understand:
You draw your masks not on the lower layer in the master comp. When you duplicated the 'Speeding Up' composition layer inside of the master comp, you precompose the lower layer, open up the newly created precomp ('Matte') and draw your masks there.
It looks to me like BOTH items are precomped here in your Master Comp - The Movie. I know you've spelled out the steps very clearly, but I'm missing something here...
Below what I've done is to drag that last 422 DI referred to above and is the "Speed Up" footage resulting from the 400 Speed Timewarp Adj. Layer and Bullet Time DIn rendered out to "Speed_Up_DI_422. Into my Master comp, duplicate it and draw masks on the lower one.... but evidently this is incorrect. And I haven't added the overall Adj. Layer with 50 Speed Timewarp yet. But as per your comp I should be drawing masks completely separately.
Where is this "Matte" comp coming from?! From your instructions it is a duplicate of the Bullet Time + 400 Speed DI's How did it get in a separate comp by itself? Then I must import it to the Main comp so it's paired with the Bullet Time precomp (footage)?
I'm so befuddled I'm not even sure how to forumulate my questions properly. My apologies. What am I missing here? It seems like you're spelling it out so clearly.

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