Interpret interlaced video with 2:2 telecine pulldown as true progressive?

Hope my title makes sense. Not sure how well I will be able to explain.
We have interlaced video files from film telecine. The telecine transfer were made at 25fps as the machines are PAL and this allows us to capture each descrete film frame within the 2 interlaced video fields. I believe this is called 2:2 pulldown. 2 fields for every film frame. The film is captured to V210 10-bit uncompressed blackmagic .avi files. We have films intended to be played back at anything from 12fps to 25fps. Everything is captured at 25fps as the only other available speed is 16 2/3rds fps which creates duplicated fields (3:2) and only works for 16fps content.
So, even though the video file is interlaced (top field first) by combining the fields you get a progressive film frame. Is there anyway to tell Premiere to interpet this footage as progressive without dumping half the fields? As far as I am aware if I work with a progressive sequence or interpret the footage as progressive Premiere will retain the dominant fields and interpolate the rest. I understand this for interlaced content where each field is from a different temporall moment but we actually have the ptrogressive frames just stored as 2 fields.
Any advice appreciated.
Thanks
Message was edited by: mojibake

Premiere Pro will automatically interpret footage that is shot as progressive-as-interlaced, like 25p or 30p, but that (to my knowledge) only works correctly with footage that is from a camcorder. That's because the file is flagged in such a manner that Premiere Pro knows to put the interlaced fields in the correct order for progressive display. I work with 480/30p and 1080/30p footage (which are both interlaced as shot) frequently, and Premiere Pro does things correctly there.
However, I think it will be a different matter in your case, unless the captures are being flagged as they are created. What does Premiere Pro say that the clips' field order (or lack thereof) is when imported? As you've surmised, if this isn't the case, telling Premiere Pro to interpret the footage as progressive is likely going to result in some unwanted artifacts. You could probably test this by importing two instances of your clip, interpreting one as progressive, and then placing them in a progressive sequence (one on top of the other) and toggling visibility between the tracks. You should quickly see if it's having the desired effect or... something else. Instinct tells me that Premiere Pro won't handle this correctly, however.
This might be a job for After Effects, which is a certain degree smarter and more capable of interpreting such things. I'm not exactly sure how to handle it there, but the After Effects forum might be the best place to ask.

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