16mm to Beta SP to Avid to FCP to HELP!

I am in the middle of POST HELL! I started a project 16mm that was telecine to BetaSP 29.97. I then did a rough edit using AVID FILM COMPOSER (which I loved as it was 24frames on the timeline)
then when Final Cut Pro came out, I bought that, and an Avid guru converted it for me. I then rented a BETA SP deck and captured DV footage 720x480 at 29.97. All of my audio is on a ProTools system at FILM SPEED 24frames.
I worked around. in FCP, but now technology caught up and FCP can handle 24 frame timeline.
The best expensive case is to go to LASER PACIFIC and scan my 16mm neg to HDCAMSR , oye vay!
But, in the real world, I need to work with this DV footage and lock picture first!
I can't even afford to go back to BETA SP (why bother?) it cost more than buying a V4HD MOTU box and renting a BETA SP deck. But that is not the point.
I need to REVERSE TELECINE (like what the AVID FILM COMPOSER did to my BETA SP footage) way back when?
I read in the book NO RECOMPRESSING....well, in this case how do I NOT recompress?

How do you get 29.97 footage DV convert it to FILM RATE 23.98? or 24frames? and can somebody please tell me wtf the difference is? If I am going to EXPORT this out to DVD and try to go festivals and distributor route?

Also, before I end this massive birthday cake....I am shooting 2nd UNIT and the LAST SCENE with my HVX200 in 720p/24

so is there any 'encyclopedia brown' sleuths that can decipher all of this to help me to find a CHEAP DV (offline) conversion to 24p? (720p/24) as in DVCPRO HD?

I would be honored. Is it as simple as using MEDIA MANAGER? or COMPRESSOR? *oye vay!

thanks so much! please help?

m Shocked

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observe the masses and do the opposite!

couple of quick questions:
when you finish your standard def edit, are you going back to the original film footage and conforming or is the footage currently in your box going to be the final resolution?
Do you want to convert just the sequence to 23.98 or all of the original media files?

both. if and when a distributor wishes to put this out or if I do it myself and decide to go back to the film, I will get it scanned.

as it is now, I have DV footage from the BETA SP )telecine from film )
I had and have the option to go back to recapture uncompressed SD from the BETA SP, as I have a fw800 drive that can handle uncompressed SD or DVCPRO HD 720p

I guess my goal would be to test this DV footage upconvert it to DVCPRO HD 720p just for shits and giggles....

but the other scenario I would love to do is to use this DV media files MASTER FILES and convert them back to 24frames material (like my original KEYCODE?) so if I do SCAN the FILM, I don't have to pay for 9hours, but 90minutes or the locked picture.

If I have the DV at 24p or DVCPRO 720p/24 frames...I could use this to shop the movie around and festivals....couldn't I and save the expensive ONLINE (scanning back from FILM)....(I have even thought of doing it at home with my flatbed and a mechanical set of sprockets that my old school flatbed film editor and I are thinking about building...but only as a last resort...

Laser Pacfic or Efilm or some other FILM SCANNER joint could give me a indie or student break and save me from the experiment...

but I need help OFFLINING....but even so this is not a 100% offline, as I could release it at this level ONLINE....know what I mean?

so I treat this as a WEB ONLINE...thanks...so much in helping me with this....

also is it 24 or 23.98? and are both of these film speed? like my 16mm? or just a difference?

thanks

makinfilms Confused

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observe the masses and do the opposite!

i hope i didn't scare anyone off....did i ever get an answer?
i need to do both...

can someone help me?

thanks

makinfilms

_________________
observe the masses and do the opposite!

Dude you got to shoot on film and messed it up? You converted perfectly good 24p film to 29.97 mini dv. That's where screwed up bigtime. Now that it's DV footage can't you just make a DVD of it so you can show your potential buyers?

that is the idea...dvd to buyers

i must tell you when i shot film there was no dv, only beta sp.....that dates it a bit....so there was no messing up......actually there was no nle.....that was easy to get your hands on.....50k was cheap for avid......compared to the rest....but i ended up renting an avid for 800 a week and that was a good deal.....and i learned avid with the help of a good assist editor.....

then the beta sp was telecine of choice as dv everyone was screwing up and not going dvcam....big difference...

but in truth......dv can still be ok....do your research.......festivals have won with dv and actually sold to distributors......and then what is sick blown up to 35mm just because that was or still is the multi theatre medium of choice.....

i know people taking hard drives or these digital players on the road and projecting them to digital projectors.....but those are rare....no big majors doing this.....

but interview was dv and it was screened up to hdcam...i think that is the medium sundance requires. ? until next year probably...

but in truth......the 24frames i had on avid composer film composer but it did the reverse on the fly.......now you really can on a dime reverse.....and blow up in stages with the cool new software....and finish on 16bit.....which really gives you more room to play with, but it isn't the purist or eliteist type way of scanning the film in a 4k or whatever.......little films don't need that high up......

i almost want to shoot pixel vision just to show people you can do it....

and forget deals......self distribution is for most of us anyway........and if you read businessweek and wall street journal you would know that people going to festivals and getting deals of a lifetime is over......
self distribution is where it is at......the difference now is not in if you can make a rocking movie....but if you know how to SELL a rocking movie......it all goes back to SALEMANSHIP and showBUSINESS no showART.....

the showART people are the ones who probably are too busy telling you why DV won't work.....cause they think they need a RED to shoot a feature......the latest excuse to keep them from actually FILMMAKING and keep them FILMTALKING....

as confucious says "Talk doesn't cook rice!"

cheers

makinfilms Rolling Eyes

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observe the masses and do the opposite!