Premiere Pro CS3 help creating Titles

Can someone direct me to a location for help using the Titler in Premiere Pro? I am having great difficulty stumbling and fumbling my way trying to learn this features. Example: when I start a new title, the text doesn't wrap within the Save Area but continues off the side of the Titler.

You will also find links to many
free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro.
Cheers
Eddie
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Can animated titles created in Titlemotion imported into Premiere Pro CS3?

Hi,
We are using Titlemotion Software(Standalone Version)for creating animated titles.
We would want to use these animations into Premiere Pro CS3.
We can save the animations made in Titlemotion as
1) an FX-script,
2) a targa sequence &
3) a '.VIA' format.
'VIA' files created in Titlemotion do not get imported into Premiere Pro CS3, Premiere Pro informs that they are not supported.
Is there any way to import a .VIA file into Premiere Pro CS3?
OR
Is there any work-around wherein animations created in Titlemotion Pro could be taken into Premiere Pro CS3?

Save as a targa sequence with an alpha channel.

Premiere Pro CS3 Podcast #24: Creating a Sports Highlight Reel (part 1)

Thanks to all for your continued podcast suggestions. I plan to get to many of them. However, until then, here's a special 2-part sports edition in honor of the Superbowl.
http://blogs.digitalmediaonlineinc.com/jeffschell/
b How to make ESPN-style slowmos and special effects in Premiere Pro CS3 using the Time Remapping Effect.
Part 1 deals mainly with Premiere Pro's built-in Time Remapping effect, use to create slow motion "slowmos" and freeze frames. Then check back for Part 2 next week, when Jeff demonstrates how to make some of the same visual effect techniques seen on ESPN SportsCenter to highlight specific players or plays.

Very helpful tutorial. When does Part 2 come out?
BTW, I'm in the middle of a sports highlight tape for college football coaches for my son. I'm a novice at the myriad effects offered by PPro, AE, Matrox, etc., but what I find absolutely essential are:
1) A matte to highlight and draw the eye to the player at the start of every play. (I prefer to invert the opacity and darken the image except in the oval around the highlighted player.)
2) Scale or "zoom" the image and Time remapping or "slo-mo", especially for replays of especially good highlights. I use Digital Anarchy's ReSizer 2.0 plug-in.
3) Panning across high-res still photos for the "Ken Burns Effect". (I use ReSizer for that, too.)
4) Audio processing to bring out the voice of the PA announcer when he calls your son's name. (I re-render all the audio clips using Soundbooth's Vocal Attack, regardless of whether there's audio that I want to use from that clip, to avoid dramatic level differences between audio clips.)
What I would really love to toy with, but don't know how, is how to "draw" the receiver's route on the field in advance of the play and highlight the football as it traverses a dashed line in flight from the QB to the receiver. Anyone have any ideas other than buying $100K worth of equipment?

Seeking Help/Advise for Premiere Pro CS3 editing project

Hello everyone,
I am an Absolute newbe here, and to both forums and Adobe in general, so I may be going about this all wrong. If so forgive me, but I have a problem that I would Desperately like some help with.
For about twenty-five years I have been looking for a movie, the problem was hampered somewhat by the fact that it was never released on either VHS or DVD, making it rather hard to find as you might imagine. Now, thanks to the wonder of a (new?) site called youtube, I found DL it piece by piece. I dont mind that it is not DVD quality, in fact, since it was originally a made for tv film, I kind of like it.
The PROBLEM is that for some reason the audio doesnt match up with the video. It is a few seconds before/after (Dont ask me why, I dont Know computers much) and though I have dl/tried every program I can get my hands on, I cant seem to join the pieces together and get the stuff to sync up. Its like watching an old, old Japanese monster movie and watching Those gave me a headache when I was young lol.
Then someone told me that Adobe Premiere Pro CS3 could fix the problem, so I DL it on a trial basis. Thing is, I know nothing about computers and cant even get the movie to load. Let me say I am not especially computer literate, and while I am currently trying to figure out Adobe Premiere Pro CS3 I most likely Wont be keeping it past the 30-day trial. Not that I dont like it (I suppose, so far I have been able to get absolutely no place with it) but rather because I DL it for one reason and, at almost a thousand dollars, it seems an extravagance for a program I will likely never have the need to use again.
(No disrespect intended)
With utmost respect to all, could someone either guide me through the process or convert the thing for me? I have tried going the video editing rout, but they wont help me due to a copyright thing (though I grabbed the thing from public youtube). I dont want to publically display, resell, show off or make a dime from the thing, I just want to make it sync up and burn it to dvd to watch on my tv.
Any advise/help would be warmly appreciated. I am posting this in a couple of forums, so like I said, if I am out of line I apologize.
Respectfully to all.
B G

To John Smith,
Thanks, I have now dl elements and I am going to fool with it today, wish me luck.
To Malick,
Exactly why I am here. Because I am computer functionally illiterate, I am hoping someone here can either:
A: Talk me through the process.
or
B: Be convinced to do it for me. I am willing to deal. :) (I suspect it is the kind of thing that, a person who Knew what they were doing, could do it in about five min.)
For me, who has only used computers for the most Basic things.....
I have tried putting everything onto a CD and taking it to places, but each time I get told that, even though I found the thing on youtube, it is (Was) a real movie released on TV and as such cannot be touched due to copyright. (goofy, if ya ask me. I don't want to sell the thing, just watch it)
But I thank you.

Help Trouble Importing Files into Premiere Pro CS3 !!

Before I reinstalled my computer, I was able to import HD MOV files into Premiere Pro CS3 without a problem but now it it says file not supported! what is going on?? Am I missing a driver since I reinstalled my computer? Thanks Please Help

like magic ! how cool...
you might mark thread answered so others dont keep going to it to " help " ...
good luck with new computer stuff...

Fade a title in Premiere Pro CS3

How can I fade a title in/or/out in Premiere Pro CS3???

Ann's Cross-dissolve will probably be exactly what you want, and is very simple too. If you want more control, you can also Keyframe the fixed Effect>Opacity to suit. Also, other Effects (say Gaussian Blur), can also be added. More work, with more potential and control.
Still think that Ann has nailed it.
Good luck,
Hunt

Premiere Pro CS3 camcorder help

I've been searching forums and support but can't find where a list of "Supported Camcorders" for Premiere Pro CS3 are. The closest i got was an answer to someone elses similar question which said to search the Knowledge base, (I didn't find crap in there) and the same person said to call "Tech Support"
(i actually need a code or product number).
I simply want to know which cameras will work with CS3!!!! I know the Sondy PD150 and 170 work but they're too expensive. Any help before I purchase one that won't work??????????????????
Thank you in advance.

Jamie, if you're using CS3 or earlier, you can't capture it. Plain and simple, CS3 doesn't recognize it. Adobe has upgraded CS4 and it captures AVCHD video just fine. I looked up and saw that your camera utilizes AVCHD video technology.
Here's some suggestions:
1.You can try capturing it using another method (windows movie maker) and then importing it into CS3 but I'm not sure if that will work.
2.You can search a "video converter" online and download one that will convert your AVCHD video to a usable format (.mpg,.avi or other usable format) I have done this at home but have never found one that is free. Others have told me you can get a free one online.
3.Return your camera and get one that will work with your version of Premiere Pro CS3.
4. Purchase Premiere Pro CS4
5. I don't know what capabilities you or the camera has but some cameras can directly burn onto a DVD, if yours can and you have the capability of using a DVD player to capture video into PPCS3 then you can also try it that way.
I have captured video so many different ways that I'm amazed sometimes at how I've done it.
Sorry, doesn't seem to be a "quick" fix. And I hope this helped a little.
Rick Tomlin
Communications Specialist
City of Abilene
c. 513-3485 o.437-4520
[email protected]

Audio balance greatly different in Encore CS3 after encoding 5.1 master track in Premiere Pro CS3

Hello! I'm wondering if anyone can offer some advice for my DVD audio problem.
I have a Premiere Pro CS3 project with a 5.1 master track that appears to behave correctly judging by the meters when I play it in PP. It also sounds reasonable (in a mixed-down fashion, I guess) on my PC system's speakers (L,R,LFE), and all rebalancing and panning seems to work well. However, once I export the master track to Encore using PP's SurCode Dolby Digital codec, the resulting audio mix is totally off. Here's what I get: both front channels play mainly out of the right front and center speakers, and the rear channels play mainly out of the left front speaker. I've tried all different settings, but I can't seem to change this. Well I've read that Encore just sends the audio mix straight through (the DVD trancode status is "Don't transcode"), but when I build the DVD and play it on both of my 5.1 surround systems, the results are just as bad as what my desktop PC speakers were hinting at. [Actually all DVDs that Encore builds are UNSUPPORTED on one of my set-top DVD players and they're both Panasonic! So first, I first have to copy the DVD using Nero and then the copy is accepted by all. That seems to have no bearing on my audio dilemma but I thought I'd mention it. I would love to know what Nero is doing right that Encore is doing wrong!)
Anyway, here's some background: I began to notice this problem with the audio balancing whenever a .wav music source is imported into PP as a stereo source. [A side issue here - I don't seem to be able to explain - or control - how one .wav file gets imported as stereo while another is imported as 5.1!] Anyway, as one would expect, since my master track is 5.1, the stereo track is automatically set up with a rebalancing tray with the puck set in the middle. The meters show that the source is stereo and the sound has been rebalanced across the master track. If I drag the puck around, the master meters behave accordingly. Then I import my video (.avi video clip) and that sound is imported as a stereo track. For that track, I drag the puck to the rear. Again, the master meters respond correctly. So far so good. But when I export to Encore, the resulting audio mix so completely wrong it can't even be explained as a 5.1-to-stereo downmix situation. The sounds that were supposed to come out of the rear channels are in front left and center (and deafening), overpowering the music that is only coming out of front right. And the rear speakers are silent unless I turn on Pro-Logic on my amplifier, which just confuses the issue. I didn't bother to check LFE as things were bad enough.
Where I DO NOT have the problem is when the audio file is imported as a 5.1 source (although it is just a stereo CD track ripped using Sony CD Architect). In that case, there is no rebalancing tray and the track meter shows only the L and R channels active, as expected. Ditto for the master track. Now if I go ahead and send the music to a stereo submix track and let that rebalance to the master, I see all channels active. But that results in the problem above after exporting to Adobe Media Encoder using SurCode and then importing the audio into Encore. If I don't remix to 5.1, the audio on the DVD is OK. But I would like to have the music come out of all speakers when there isn't a video soundtrack as there are many still pictures in the presentation.
So the question is, if I can rebalance and pan channels in PP CS3, why are the results coming out all wrong in Encore using SurCode? And how can I hear my project on DVD the same way I mixed in PP?
Any help would be greatly appreciated!
Doug Herbst
Holmdel NJ

Problem solved everyone!!!
Rebecca of Adobe support helped me identify the root cause: project was originally set up as standard (2-channel) and although it had evolved to a 5.1 project over time, it could never grow up to be anything other than a standard audio project. After you set up the new project, the setting that controls your audio is buried in the project somewhere. Changing your project settings to set up new 5.1 audio tracks for new timelines does NOT make the project 5.1! The real audio identity attribute set at birth is not alterable OR EVEN VISIBLE (even as a grayed-out project setting) although PP will allow you to set up and mix 5.1 audio tracks at will. So you may think you're working on a 5.1 project now, but you're only fooling yourself and PP goes right along with it. Even the .ac3 files you create via export are 5.1! But dare to build your DVD in Encore and all of your timelines are transcoded back to 2.0 instantly. Resistance is futile.
A new feature in PP CS4 will allow you to view, and even CHANGE, your project's audio identify from standard to 5.1. How sweet!
Well, I've devised a way to dig out myself out of this deep hole in CS3 and it worked, but I can't promise that it will work for everyone. (This assumes you own the Dolby Digital 5.1 codec from Minnetonka.)
1. Create a new Premiere Pro project as 5.1 audio from the get-go.
2. Import your suspected 2.0 project into this new 5.1 project and click each sequence to flesh out the timeline.
3. Re-export all audio as elemental streams using Adobe Media Encoder. Make sure you export the audio component of each timeline as Dolby Digital 5.1 and exactly - and I mean EXACTLY - the same way. To deviate the audio settings for each timeline is to ask for trouble, so I recommend setting up an audio pre-set that you can just click when you need it.
4. Create a new Encore project and import all original video assets and your new replaced and, hopefully, 5.1 audio assets into it.
5. In Encore, create a separate timeline for each pair of assets (.m2v and .ac3 for example). DO NOT ATTEMPT TO PLACE MULTIPLE PAIRS OF ASSETS ON THE SAME TIMELINE! For some unexplained reason, the build process will transcode the audio back to 2.0, and if you continue pack new 5.1 audio assets on the same timeline, you will get an error message "an input contract violation has occurred" because you now have 2.0 and 5.1 assets on the same timeline, even though you really don't know that and didn't ask for that to happen anyway. (Thanks to Bill Hunt who mentioned his habit of keeping the asset pairs on separate timelines in another thread - that suggestion was absolutely essential to the solution here.)
6. In Encore, check to make sure that all of your original video sychs up correctly with the new, true 5.1 audio. Link the end actions of each timeline with the next timeline to play in the correct sequence. Check your project for orphan timelines and other errors. Then, before you start building menus and start getting fancy, build a DVD and make sure it plays as 5.1 on your system.
Tip #1: while you're re-exporting and replacing the audio files, don't have Encore running. I've seen it gracefully and automatically re-import the replaced file once the export is done, but I have also seen it choke with the terribly descriptive "Encore has encountered a problem" message upon discovered the asset is not available while it is being replaced. Encore then continues to mark the asset as offline.
Tip #2: when re-exporting and replacing files, always select audio and video separately. For some reason, Encore will allow you to replace an .ac3 file when you perform an elemental audio export, but when you try to combine video and audio and both files exist, Encore will prompt you to replace the video, but immediately abort with an error that it cannot replace the .ac3 file, thus forcing you to delete the .ac3 component manually before trying again.
Doug

Trouble Importing MOV files in adobe premiere pro cs3

Hi,
I just bought a Canon 60D camera and I am using adobe premiere pro cs3 for the first time.
I tried to import MOV file footages made by my Canon 60D, but it says that my files are not supported.
I don't know what to do!
Can someone help me?
Thank you.

Hi All,
Let me tell you how I solved the XDV9 codec trouble on my Windows 7 system. The solution is rather stunning because I am using completely free software. First download the Shark007 codec pack for your system here: http://shark007.net/forum/Thread-Setup-and-usage . Please be aware that the codec pack installer comes with a toolbar install option so make sure you de-select this option during the installation process. After installation check the MOV tab on the "Settings Application" program. Make sure "use LAV's splitter" is selected for MOV Playback.
Now comes the crazy part... To convert the XDV9 MOV video clips just download Windows Essentials Movie Maker for Windows 7. At this moment more info about this program can be found here: http://windows.microsoft.com/en-US/windows-live/movie-maker-get-started . Again, make sure to set the right settings during installation otherwise you will be installing a lot of possible unwanted crap like Windows Live Mail, Windows Skydrive etc.
Movie Maker has quite good settings for converting (High Definition or custom settings are supported). Select your clip, or select multiple clips to create an unedited full length clip of all your clips, and then select "create movie". I used the "use recomended settings for this project" settings as it matches the source file resolution and frame rates etc. It is quite some work to convert clips like this but its the only free solution I could find so far.
Good luck!
Rodger

Adobe Premiere Pro CS3 3.2.0 update

Thought I'd share a bit of information on the 3.2.0 update that will be coming out via AUM this morning. The update will come out first via AUM, then will be available on the updates page shortly after at http://www.adobe.com/downloads/updates/?ogn=EN_US-gntray_dl_updates.
The readme will also be hosted at http://www.adobe.com/support/documentation/en/premierepro/releasenotes.html.
Dave Helmly has posted about the update on his blog, as well: http://blogs.adobe.com/davtechtable/2008/04/xdcam_and_premiere_32.html#more
New in this release:
- This update adds compatibility with the Sony XDCAM range of cameras. This includes disc-based XDCAM and XDCAM HD cameras., and the newer SxS-based XDCAM EX cameras. Content from XDCAM cameras can be imported and edited natively without transcoding or conversion. This makes possible similar workflows to Panasonic P2, including the ability to edit content directly from XDCAM EX cameras.
- Note: Adobe Premiere Pro CS3 3.2.0 does not support IMX editing or XDCAM HD50 editing at this time. Export to XDCAM is also not possible.
- Adobe Premiere Pro now has presets for HDV 24p. Note: Adobe Premiere Pro does NOT support print to tape in 24p mode.
- Improved handling of MPEG streams (e.g.: HDV video), along with error detection. MPEG stream errors can occur during recording due to tape dropouts, record start/stop glitches, timecode breaks, etc. Bad frames caused by these MPEG stream errors are identified during import/indexing or playback. These frames will play back as full red frames to alert the user that there is a problem in the encoded video at that location. Adobe Premiere Pro will also log error messages to the Events panel, indicating where the error(s) were encountered in the stream. Users can open the Events panel, determine the location of the MPEG stream error, navigate to that location in the clip and take corrective action, such as trimming out the video glitch or covering up the red frames with duplicated good frames copied from before or after the glitch. Note: MPEG files will need to be re-indexed to take advantage of the improvements in Adobe
Premiere Pro CS3 3.2.0. For more information, please see Working with MPEG Files.
Notable fixes:
- Titles/Footage no longer show up as offline when reloading saved projects.
- Rendered preview files no longer missing when reloading saved projects.
- Certain filters and/or transitions are now applied correctly when reloading saved projects, until the timeline is forcibly refreshed.
- When exporting via the Adobe Media Encoder, there is no longer a long delay before the progress dialog shows and rendering resums (Mac OS 10.5.x only).
- 24p HDV clips shot on a Canon XH A1 no longer come in incorrectly as 30 fps clips.
- Creating an offline clip in the project window then attempting to link it to media on disk no longer results in the application crashing.
- QT PAL movies rendered out of Adobe After Effects® software are no longer incorrectly identified as requiring rendering in a Adobe Premiere Pro PAL project.
- DV Clips of certain specific durations are no longer incorrectly identified on the timeline as requiring rendering.
- For P2 DVCPro clips, the right-most pixel column no longer contains video garbage.
- Fixed a memory fragmentation problem that would occur with projects with many custom bin columns.
- Fixed a bug where exporting to a QuickTime movie (with QT 7.4) would crash the application.
- Selecting "display only exact name matches" when relinking clip no longer crashes on Leopard.
- Fixed an issue where 30p and 30f HDV clips would incorrectly be identified as requiring rendering in a 29.97 progressive project.

Harm,
I don't use HDV, so I'm not sure if this is the case or not, but in the top post, there is mention of having to re-index the MPEG files "to take advantage of the improvements in Adobe Premiere Pro CS3 3.2.0." While it seems this should be an automatic process, maybe wiping out the previously-created index files (I seem to remember them being in the Media Cache folder when importing MPG files from DVD rips and such) would let the project open. Or, maybe the old trick of importing an existing project into a new one? Just a couple thoughts...
To the other poster: surely, I don't jest. At least, not when it comes to anything in the video production industry and my operation in it. Long ago, I gave up expecting perfection from any particular piece of hardware or software, and just focused on being creative. That's why I got into this. I refuse to let any piece of equipment dictate what I can or can't do--I just find another way around. Funny how we managed to make it as a species and a civilization as long as we have, and now that computers are here to make our lives easier (*snort*), we're quick to raise our ire about everything that's wrong with them. That's why I will always marvel at things built long ago prior to the advent of all the technology we take for granted today.
Anyway, we're all entitled to our opinions, and I've taken this thread completely off-topic. My apologies, so...

Importing AVIs into Adobe Premiere Pro CS3 !!!

Heres what Im trying to do: We have been working on a PC Leitch Velocity Q NLE system for the past couple years and just got 2 new Matrox Axio LE NLEs with Adobe Premiere Pro CS3. We are trying to get all our old projects from the Velocity system onto our Matrox systems and not sacrifice any of the video quality. I've been thinking that the best way to do this is by compressing old projects to AVI format from the Velocity system and move them over to the Matrox using an external hard drive.
I was actually able to bring in an AVI from the Velocity system onto the Matrox yesterday using the same Velocity settings below, except that I changed the aspect to 720 x 480 and the audio sample rate to 48,000. When playing the video on the timeline in Premiere the video looked great on my computer monitor but on my external NTSC monitor all motion in the video looked a little jerky as if frames are missing. I tried importing the test clip into both Matrox uncompressed 8-bit and uncompressed 10-bit projects and had the same resulting jerky looking video. Even after rendering the clip the video looked the same. Then I tried exporting the clip to mpeg using the Matrox media encoder but saw no change in the jerky movement. Here are my project and export setting for both systems.
The AVI was made on a PC Leitch Velocity Q NLE system. My project settings on the Velocity system are;
29.97 drop frame
720 x 486 24 Bit
Interlaced field order B
Sub pixel off Cropping off
Audio:
16 sample
44 / samples / second
2 channel
Export settings are; (These are the settings I was trying the first time that didnt work. All I changed the second time was the aspect ratio to 720 x 480 and the audio sampling rate to 48.)
AVI
Frame rate 29.97
720 x 486
No Compression
Color 24 Bits
Field handling interlaced field order B
Audio:
16 sample
Sampling rate 44
2 channels stereo
Do you recommend compressing the video coming out of Velocity?
There are a couple other options other than No Compression in the export dialogue such as: Microsoft H.263 video codec, Microsoft H.261 video codec. I definitely want to maintain the highest quality possible.
Matrox Axio LE project settings
Editing mode: Matrox NTSC
Timebase: 29.97 fps
Video
Frame Size: 720 x 486
Pixel Aspect Ratio: D1 / DV NTSC (0.9)
Fields: Lower field first
Display: Format 30fps Drop Frame Timecode
Audio: Sample 48,000 Hz
Display: Audio sample
Video Rendering: Maximum bit depth is Unchecked
Previews: File format Matrox uncompressed 8-bit NTSC (tried Matrox uncompressed 10-bit too.)
I think the jerky video might be due to dropping frames but Im not sure.
Any help is greatly appreciated!

While it seems that the field order is consistent, I have seen issues where converting from clips that change field order creates this sort of problem. This is particularly obvious when converting from MJPEG codecs like Meridien or Miro/Pinnacle to DV.
What happens if you just import the files into Premiere and let it do the rendering to the project settings?

Adobe Premiere Pro CS3 "The editing mode used by this project could not be loaded."

Hello-
I am encountering an issue with my Adobe Premier Pro CS3. I am trying to open up a project that another person has created on a different editing system. When I try to open, it comes up with the error "The editing mode used by this project could not be loaded. The project will be opened in Desktop mode." The next window is a Windows Explorer screen, that wants me to choose a file to open. If I cancel that, it brings up a blank looking project with no timeline or anything?
A quick comparison of systems:
Mine:
HP dc7700s desktop
Windows XP OS
Adobe Master Collection CS3
Hers:
IBM compatible laptop
Microsoft Vista
Adobe Premiere Pro CS3
Adobe Photoshop CS3
I have googled the error message, but have not found anything to fix this. I have also verified from Help - About that we have the exact same versions of Adobe Premiere Pro CS3 installed.
I need to be able to view this project on either computer. Any advice would be greatly appreciated!!!
Thank you!

>project will be opened in Desktop mode
I have never used any non-standard files, but from reading here, desktop mode is used when the video files are not standard... in one way or another, but usually pixel dimensions
What is the codec and properties of the files in that project?
Are you sure they are 100% standard?

Adobe premiere pro cs3 installation error

hi all
im downlaod adobe premiere pro cs3 trial version and setup it on my pc but at the first step i take this error message
i have sata hard disk 250 GB and i have more 200 GB free space and i give privillage for the setup folder but i have the same error plz help me why
note:
i have windows vista ultimate version 6.0 ( build 6000)

Create a new administrator account and login using it. Try the installation again. If it fails with the same error the download may be corrupt as Phil mentions.
Cheers
Eddie
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Aspect Ratio in Premiere Pro CS3

I have imported a Quicktime movie (a desktop recording of a software created using SnapZ Pro) which was recorded in SnapZ Pro with frame dimensions of 720 x 480 pixels. When I import this quicktime movie file into my Premiere Pro CS3 project, the settings for which is a frame size of 720 x 480, it looks distorted in both the source and program windows. If both the imported file, and the project settings match dimensions, shouldn't the imported file view properly?
Any help appreciated.

Maybe the SnapZ Pro captured video has a PAR (Pixel Aspect Ratio) of 1 instead of 0.9 which it would be for standard NTSC DV.
The solution depends on what you are planning to do with your movie:
If it only has to play on a computer you could import the footage in a custom project (Desktop) where you would set the PAR to 1.
If you plan to output to DV tape or burn a DVD you could resize the video to 640x480 inside a 720x480 frame. That would leave black "pillars" on both sides.
Or you could re-capture at 720x480 with a 0.9 PAR (if SnapZ Pro offers that option). Should the software lack a PAR setting you could instead capture at 720x534.

Premiere Pro CS3 Vs Premiere Element (latest version)

Hi there,
I need need help on whether to buy Premiere Pro CS3 or Premiere Element (latest version) ?
1. Can the Element run multiple videos at the same time ? For example, I wanted to run say 4 videos at the same time on different part of the screen.
2. Can Premiere Pro CS3 create a 3D words say "Adobe" and do the following effect:
i) a 3D alphablelt of "A" appear from inside the screen them zoom out, and as it zoom out, it rotates along the Y-axis then stop. This followed by "D" then "O" then "B" then followed by "E". By the time E stops, you will have the words ADOBE
Thanks

Cool3D is a much more powerful program for creating the effects you described then After Effects. The 3D layers in AE have no depth: they are like postcards that you can move in 3D space. The objects (and words) that you create in Cool 3D are three-dimensional. They have depth and you can see their thickness when moving them through 3D space. Like in AE you can use multiple light sources of different colors and types. The program is easy to use if you limit yourself to the presets provided. The program has not been updated to make use of multiple processors so rendering takes a long time. But the results are superb. Just make sure that you render to "Uncompressed AVI with 32 bits" to get the alpha channel. (In Ulead lingo "Field Order A" is lower field first.)
Don't get me wrong. Cool 3D is very limited in its capability. It is not After Effects. But what it does it does very well.

Premiere Pro CS3 help creating Titles

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