[Ayan Banerjee]

Thanks Jeff. Yeah that vanishing thing is very frustrating. It made me get into the habit of copying the post before hitting the Button.

I do not need to collaborate with Mac users, but I was wondering since I shoot with dslrs which produce footage in .mov container, would they be identified and imported in Ppro CS6, if I remove QT from my PC ?

I am very interested in trying out Cineform(I thought it was not free) and/or DnxHD. But are they dependent on QT? (I am asking this because you say Cineform comes in mov container)

Lastly regarding your statement “The issue with QuickTime on a PC is not the codec itself, but rather is the PLAYER. “

I am a little confused here. I had the idea that QT was only required for supporting files with mov container. When you say codec, what do you exactly mean? I know prores is not an option in PC. I am probably being a noob here, but I thought codecs inside mov (like h264,PNG, etc) do not require QT?

[Ayan Banerjee]

Probably it is not the saturation but the contrast level which is making your videos look flat.
1)Try increasing the contrast from -2 to 0.
2) When you say you are using a grey card, make sure you are using the right kind of grey card for white balance. The 18 percent grey cards are actually used for exposure setting, and many people mistakenly use them to set the white balance. The actual white balance grey cards are almost 80 percent grey (almost white).

[Ayan Banerjee]

Premiere is not great at embedding subtitles. If you have the srt file, you can download xvid4psp. It is super easy to embed the subtitle onto the video there.

[Ayan Banerjee]

If you have dropbox installed, it can automatically transfer screenshot to a specified folder when you hit printscreen. (No need to open paint and paste and all those stuff). Now if you have your program monitor open in full screen mode, and hit the right arrow and printscreen alternatively, all the first frames would be saved to that specified folder. Well not quite a full automated process, but kind of a fast work around – should not take long to run through the entire timeline. Much like playing drums.

[Ayan Banerjee]

Walter thanks for the detailed answer. What I get is, since Apple will no longer support Quicktime on Windows, and Adobe’s native Quicktime support is only for CC version (we use CS6 and are not keen on upgrading to cloud) it is better to remove dependencies on Quicktime, and use AVI. But that in turn raises a few questions.

1) Why do people all over the internet keep calling AVI a dead format? Would it be somehow unwise to store archival footage as AVI-NONE then?

2) Is QT required to work with Canon DSLR Footage in P-Pro CS6? (Since Canon Dslr footage has .mov extension, and we shoot with a 7D). If so then I guess all PC users with CS6 would be forced to continue with the vulnerable unsupported QT as long as they own a Canon Dlsr.

3) Since we shoot our videos in Canon 7D, our captured footage are already mov files (with h264 codec). Does it make sense to output huge AVI Uncompressed as master footage for storage? I mean are not we just trying to convert already lossy footage to lossless one? Is it better to just select the ‘Match sequence settings option’ in Media Encoder?

[Ayan Banerjee]

There are mainly 2 reasons why I want to maintain the physical folder structure:

1) I often use footage of old projects in future projects. As for example in my current documentary I have a folder structure (In premiere and in physical location itself) containing folders named ‘Timelapse’, ‘Birds’, Sunset etc. So while working on any future projects if I need shots of Birds, I would just open this archived project and copy the folder ‘Birds’. But if i archive through Premiere’s ‘Project Manager’ utility, I have to manually find all those bird shots among thousands of other footage.

2) I have seen that if I use after effects, Project Manager fails to backup those dynamically linked After Effects comps.

So is there a manual way of backing up/archiving, where I can maintain the physical folder structure and include AE comps as well?

[Ayan Banerjee]

Thanks Chris, but that is not actually my problem. I am recording everything (foleys and dialogues) in the studio, which has a room tone of it’s own. As far as audio recorded on set is concerned I am only using the room tone from there. How do I match the room tone on set with dialogues and foleys recorded at studio?