SUPER 16 to scan offline .mov - WORKFLOW

Hi,
I am just about to start synching a documentary film project rush(shot in super 16,aspect ratio 1:178, 25fps) which I got in the form of QT mov (offline 2k scan from lab)and the sound file in wav.
The edited version of the film in FCP 7.0 will be film out in 35mm (no negative cutting will be involved).
When I open the mov in QT it appears 4:3 and the same happens when I import it to FCP 7.
Will be really grateful if you can advise me regarding the workflow and the capture settings/sequence settings so that I can watch the rush in 16:9.
Thanx in advance,
Deep

Set the browser to list view. Scroll to the right to find the anamorphic column.
DV PAL Anamorphic.
The material was telecined to DV and you're going to do a film out directly to 35mm from that? Really? They could even manage DV50?
You should get some instruction or read a good book or watch a good DVD on using FCP.

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MattiMattMatt,
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First off, unless your system is very dated, there's no reason to go through the offline thing. ProRes reduces the overhead sufficiently to make HD cut pretty much like SD.
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So, i've looked and looked but can't find a clear answer to this. So hopefully someone will be able help me out.
1) If I've shot HDV but capture footage as DV (downconvert via deck). Will I be able to recapture final edit as HDV. ie will Timecodes match even though the recaptured stuff is HDV?
2) If the answer to the above is yes will any video effects I've applied to the DV timeline remain on the recaptured HDV timeline? I'm thinking mostly about colour corrections and magic bullet effects that I need to view on a client monitor. (I don't have and can't afford a "real" capture card)
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Dual 2.7Ghz G5, 5GB RAM Mac OS X (10.4.3) 2x 160GB FW800 1x 500GB FW800
Dual 2.7GHz G5, 5GB RAM Mac OS X (10.4.3)

I understand your point and agree. If I could do all the multi layer editing in Prores422 I would.
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SUPER 16 to scan offline .mov - WORKFLOW

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