So since you have a Mac, you do have ProRes.
After some experimentation, I've cut GoPro Studio completely out of my workflow. Here is some more detail on my workflow.
1. Import directly into Final Cut. I do not transcode to ProRes yet because FinalCut handles h.264 fine for editing short videos.
2. Rough cut in Final Cut.
3. Remove noise from any clips that need it, in Final Cut using the Neat Video plugin. It's better than the noise removal tools in the paid version of Resolve.
4. Export all clips with noise removal, as ProRes 422 files, adding "_NR" to the file name of each clip. I export these into a folder I call "processed holding bin". These will be deleted later to save drive space.
5. Re-import those files into Final Cut and replace the original clips with the NR clips in the timeline.
NOTE: Neat video is super processor intensive. If you have a clip in your timeline with the Neat plugin applied, tiny changes can cause it to re-render the whole clip. It's super frustrating. That's why, in step 4 and 5 I round trip the noise reduced clips out and back into final cut. Other people wait to the end, which makes sense, but I like my way better for a variety of reasons I could explain in a different post if you are interested.
6. Stabilize clips that need it. I find the older "inertia cam" method is actually the best stabilization method for much of my drone video. It was designed for panning and camera sweeps (think Cable Cam or Orbit), whereas smooth cam seems to be designed more for a fixed camera. The exception is selfie pull out shots, which I find are often better with smooth cam.
7. Export stabilized clips out as ProRes 422 to the same folder I used in step 4. This time I add "_STB" for stabilized to the file name. If a clip was previously noise reduced, the end of the file name will now be "_NR_STB"
8. Reimport the stabilized clips and replace where appropriate in the timeline.
NOTE: I round trip the stabilized clips out and back into final cut for the same reason I do for noise reduction. Except stabilization isn't as processor intensive, so sometimes I don't bother with steps 7 and 8.
9. Remove fisheye if needed in final cut (I'll have to post back later the name of the plugin I use to remove fisheye - for some reason I'm blanking on the name right now, but it took awhile to find one I like).
10. Delete all clips in the "processed holding bin" folder. Final Cut makes copies of all the clips and manages them within the project library, so these are redundant now. Also, I want to clear that folder out to prep for step 13.
11. Refine the edit a bit to trim any fat, but don't cut too hard - it's helpful to have a little preroll and post roll when doing the final edit.
12. Convert all clips in timeline to Compound Clips. Final Cut does this instantaneously and it makes step 13 easier.
13. Export all clips as ProRes 422 into the processed holding bin folder. (You can also export the timeline XML, but I don't do that anymore - I can explain why in a different post if you want to know)
14. Quite final cut and launch Resolve 12.
15. Color correct in resolve.
16. Cole grade in Resolve.
17. Export all clips out to my processed holding bin with "COL" at end of file names.
18. Import the color ("COL") clips into Final Cut and replace as appropriate in timeline. (Delete all files in "processed holding bin" folder - just to save disk space and keep things tidy.
19. Reduce global exposure by 5% on all clips to compensate for an annoying QuickTime bug that Apple really needs to fix. If you compare the same clips in Resolve with what you see in FinalCut, you'll notice in FinalCut the exposure is about 5% higher than in Reaolve. So this step fixes that issue. I'm looking into ways to automatically correct this, making this step unnecessary.
20. At long last I have a noise free, stabilized, fisheye corrected, color graded timeline. At this point I just need to refine and trim the edit, add titles or effects, and do final polish.