If you're using FCP 10.0.8, go to File>Share>Master File... Click the Settings tab and your window should look something like this...

[File Attachment: master_file.jpg]

Make sure you have "Roles as: QuickTime Movie." You should get a QuickTime .mov file.

Then, in Logic, File>Import Movie...
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Ah, I actually only use RX for live audio and dialogue, not voiceover work. When you have any unexpected sounds happening right in the middle of a good take, I don't like to let that ruin the whole thing. So RX comes in handy most of the time. There are some situations where it's almost unsalvageable and I'll want to record a new take (or not use it ).

Strip silence is a lifesaver, though. The noises I'm talking about aren't loud enough to hear when I'm not talking, but they are there when it's supposed to be silent. So strip silence takes care of that nicely for me.

Don't get me wrong, I'm not saying you can't use RX in FCP X, but it's not as seamless as in Logic in my experience. You still either need to export that section to use spectral repair and then re-import. Unless I'm missing something. I know you can use some of the RX components in FCP X as an effect, but not the "offline" components like spectral repair and such. You can't even use RX that way in Logic. But Logic and RX do work round-trip.

What's your workflow like with FCP X / RX, Ben?
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They really need to change the name of this feature. For the longest time, I thought it was the audio sync feature (for syncing audio and video). Of course that was before I knew you could only sync clips in the event browser.
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Unfortunately, it is not possible for Motion templates. If this is a long title sequence (like opening credits), it may benefit you to import your sequence into Motion, work on the titles there, and then export just the titles layer to ProRes 4444. You can even export the audio with it.
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The Decode template in Motion is the one you're looking for. Look under "Compositions." There's three different ones: Lower Third, Menu, and Open. You could make changes to them and publish to FCP X.
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You don't need to "achieve" that aspect ratio. 1920x1080 is the resolution. Basically, the first number is your video's pixel width, and the second number is its height. 16:9 is its aspect ratio. That is, the ratio of width to height. So 1920 divided by 1080 is 1.77777... 16 divided by 9 is 1.777777...

Does that clear things up?

Now, if you had to export as 4:3, then you'd have to do a little more work, but not too much.
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I advise you not to make separate events and projects for one job. Metadata is really one of the strong points of organization for FCP X so you're better off using keywords and smart collections. It's really up to you how you use keywords, but I would make keyword collections for each interview, and then if you needed more keywords for each interview, you could use folders to organize them further. This would be all in one event, and if you wanted separate projects referencing this event, that would be fine.

As far as your vignette, there are several ways to accomplish this easily. If you're using a simple vignette that displays for your entire interview, just use an effect and copy that effect over to your other interviews. You could even create your own custom vignette in Motion and use that, but that goes a little beyond what I'm able to type right now.

You could use a compound clip for this, but you have to remember to either duplicate your compound beforehand or Clip > "Reference New Parent Clip" so that your original compound clip isn't modified.
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Here's the math. You're slowing down a 25fps clip to 10% of its original speed. So you're trying to fill every 1 second of video with 2.5 frames, that you would normally be using 25 frames for. You're asking too much of your source footage. If you used 60fps instead of 25fps, you'd have 6 frames every second as opposed to 2.5 frames. You'd have over twice the number of frames to work with. This is why you shoot in a higher frame rate for slow motion. There's only so much you can do with your normal framerate.

Try easing up on the amount you're slowing the clip down. Try 40 or 50%. It will look much better. It won't be as slow, but it will definitely look better.

You could try Twixtor, since it's what it was really made for. Just don't expect perfect results.
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Compound clips don't create a new media file in the Finder. They simply reference your original/transcoded/proxy media, just like a project does.

If you remove the original media, your compound clips will only work if you had to render your media into the compound (say, if your compound clip doesn't match your clip specs, or you've rendered effects) before you deleted the original media. And worse, if you have to re-render your compound (either in an event or your project), you can't because that requires the original media.

So don't delete the original media unless you want to lose your work.
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PathFinder is actually a "haxie" that injects itself into Finder.app. You may have an incompatibility issue. Try uninstalling it. I recommend XtraFinder if you want similar features (it's free, too).
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Is it really surprising that an NLE isn't the proper tool to do audio work? I mean, yeah, a DAW is another tool to learn, but it's crucial if you're doing any serious work or you want good results.
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marchyman is correct, in 10.0.6 the skimmer button isn't there in the project browser. Looking at the interface for the OP's screenshot, he is using 10.0.6.
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Wait... are you in the project browser? If so, you need to actually be in the timeline to see the skimmer button. Double click on a project first, then you should see it.
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The "Master File" preset is simply an exported QuickTime movie. Once exported, it is a completely separate entity from your projects and events. Don't delete your project and events unless you will never need them again. Some might even say "you never know when you might need them, so don't delete them."
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The only solution I have found is iZotope RX. The magic wand and spectral repair are a very powerful combination and have been very helpful when removing wind noise. Now, if you have a lot of wind noise that affects most of the frequency spectrum, it's not going to do a lot of good. A low cut / high pass filter may also help to mitigate low rumble wind noise, but it won't get the harmonics.
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