Make or Import Proxies

Here's a workflow question that's been probably answered by here goes:

If you bring in footage and let FCPX make proxies, it gives you half size (960 x 540) proxies in a Transcoded Media folder in a folder called Proxy Media.

If you make Proxies outside using Resolve, Compressor, Grinder etc., there doesn't appear to be any way to bring in those proxies into FCP X's scheme and it will just import them as Original/Optimized Media. In that case, you can not use the Transcode Media command to make Hi-Res media from your originals.

So my question is, should I just make proxies and let FCPX put them in the Original Bin and then Reconnect Media once I've cut, or is there another workflow that makes more sense?

Why would you use proxies in another app and bring those proxies over to FCP X?

Yes, just let FCP X make it's own proxies. When you send the project to another app, switch to original/optimized media first. Most apps like to use their own internal proxies.

But still, why move proxies to other apps, especially color grading?

I'm not planning on grading them for final but here's two different ideas:

FCPX does not recognize TOD timecode embedded in THM files like log and capture in FCP7.

1) Bring H264 files into Magic Bullet Grinder and regen the files with the THM timecode date (same file name as orginal)

2) Bring the regen'ed H264 into Resolve with 2nd source audio

3) Apply LUT's to the Cinestyled footage and sync audio in Resolve and output proxy material (with or without window burn)

4) Import Proxies into FCPX and edit

5) Export XML back to Resolve and grade original H264 material

6) Send rendered graded hi-res ProRes clips back to FCPX to conform

The advantage of this is that I don't make terrabytes of hi-res ProRes for editing and I get my offline going with easier CPU requirements

2nd Workflow:

1) Regen the H264 files with Grinder and output Proxy files from Grinder

2) Import proxies to FCPX and sync dailies

3) Once the cut is locked, make duplicate Event that references just the footage used in the cut; render hi-res ProRes and switch from Proxy to Optimized

4) Minor color correction and output final

Either way, what I'm trying to do is avoid transcoding ALL my footage to ProRes 422 and work with proxies for as long as I can and switch easily back and forth in FCPX. At no time do I want to grade the proxies or use them as final output.

Am I making it hard on myself?