Super 16mm and FCP (interlacing issues)

If anyone has edited Super 16mm on FCP, please lend me some help! I have FCP 5.0.4., Dual 1.8, G5 and I'm trying to cut together footage shot at 24P from a Super 16mm camera. The footage was transfered down to an external hard drive and converted into Quicktime files.

The footage is interlacing and I can't seem to find the corect mode to edit in. I've tried a 23.98, 29.97, & 30 sequence mode, but none work. I refuse to use the de-interlacing filter because it makes the footage look like CRAP! There must be another solution.

I need help quick, we need this video cut together yesterday! Any help is much appreciated!

thanks,
epp
www.eppicfilms.com

Under what process was this film converted to video? - Telecine is the standard process to make this happen. Typically, you would need to utilize Cinema Tools to convert telecined footage into FCP for editing at 29.97.

Yes, it was run through a telecine process.

As mentioned, then - you need the ouput file from the Telecine process to input into Cinema Tools to complete the 2-3 process of creating frames to edit in 29.97 fps

Can I edit in the 23.97 timeline? I already have footage shot with my HVX200 in 24P that we are "trying" to match up with this 16mm footage.

What is the format of the video you were given? I can not recommend which way you shoud go, because I don't know the original footage format???

It was given back to me as Quicktime files.

When you control click on the QT clips and look under format, what do you get? Are your clips 23.98 or 29.97? If they're 23.98, recapture the footage at 29.97. That's what you should be editing in.

What format did they transfer the super 16 to? If you are matching this up with HVX-200 footage, you will want to edit at 23.98 fps. If you transferred to HDCam or D5, then had it put on a drive, the media should be in 23.98 already. If you transferred to DVCam, then you (or whoever did it) would have to capture at 29.97 fps, then you can use the reverse telecine feature in cinema tools to reverse the 3:2 pulldown process and end up with true 23.98 media.

The HVX material and your film material will be in different codecs unless you had the film material transferred to HD stock, then captured with the DVCPro HD codec. Because of this, you'll have to render the timeline.

The reverse telecine process in cinema tools is a little tricky and you have to make sure you captured the footage, starting on an A frame (at :00 or :05) or you will get cadence problems. You need to research how it was captured to find out how to properly use this workflow. You may have to recapture it if it wasn't brought in correctly.

> The reverse telecine process in cinema tools is a little tricky and you have to
> make sure you captured the footage, starting on an A frame (at :00 or :05)
> or you will get cadence problems.

Cinema Tools automatically trims the media to start on the A frame before proceeding with the reverse telecine. However, I tend to log to start on the A frame anyway. Peace of mind.

It might trim the media to start on the A frame automatically if you are working with a flex file, but if you have no flex file or meta data, there is no way for it to know what an A frame is. Sounds like this guy doesn't have a flex file or Cinema Tools Database.

Whenever I have used reverse telecine without a flex file, it always gave me cadence problems unless I captured at :00 or :05