Tell me about Premiere CS3

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    • #44959

      I’m about to get the entire Adobe Master Collection. I’m just curious, can CS3 make mini dv tape look like motion picture film? Are there any sweet filters that can accomplish this? Or is it more about how many fps the scene is shot in? I hate the home film/soap opera look.

    • #187602

      Hey mogle,

      There are a bunch of different ways to get a more film-like look, but even the best of them falls short, sadly.

      I’m still using Premiere Pro 2, but I’ve discovered that the quickest way to get a film look is to set your framerate at 24FPS. You can convert standard 30i to 24p in premiere, but I will say that the quality isn’t as good as it would be if you used a camera that records natively in 24p, such at the Canon XH series, or the Panny DVX100’s.

      Beyond that, the next most noticeable thing is the far shallower luma range on video. Fiddling with the color correction filters can help you simulate a deeper luma range and give you richer colors, both of which are trademarks of film.

      Lastly, if all this fails, there are companies that make "cinema filter" plugins for premiere pro. These cost almost as much as the software itself, but from what I’ve seen, they do a bang-up job.

      As far as the capabilities of the CS3 master suite, though, you’ve got me. I can’t afford that puppy quite yet! πŸ™‚

    • #187603

      Thanks for the info. I’m also thinking of getting a new camera, but I’m going to take my time and figure out exactly what I want first. I also have to find a way to convince my boss to go halfsies with me on it or something like that. I am a beginner to pro cameras, but would like to dive into the world of detailed custom videography and manual settings. What kind of camera would you suggest? I’ve been eying the Sony FX-1 and the Canon AH A-1. I would like to be able to film in 4:3 or true 16:9. HD isn’t that important. XLR audio inputs would be great. I don’t know much about lenses, can you educate me? It would be cool if it had a hard drive but I normally film onto mini dv. Does a shotgun mic really help that much? I’ve heard they sound kinda tinny or like the people were talking in a tube. Thanks for all the help.

    • #187604

      No problem.

      If you want to stay in the Standard Def realms, The Sony VX-2100 and the Canon GL-2 are both excellent machines and very reasonably priced. The pro for the VX-2100: Better in low light. The pro for the GL-2: Just about everything else. The ONLY complaint I have about my GL-2’s is that they aren’t quite as hot in the low lighting as I wish they were, but they make up for it by being a VERY powerful camera in every other aspect.

      Now, if you’ve got the money, my current favorite in the entry-level pro HD market is the Canon XH-A1. It’s got a bunch of new features, and supposedly is far better than the GL series in low lighting. Plus, it’s got all those nice little touches, like built-in XLR plugs. It records 16:9 natively, and you can even record at 24 FPS for that "film look" you were talking about. (The GL-2 has a 30FPS "Film effect" setting which is nice, but not as smooth as the XH-G1.)

      As far as lenses go, most of the pro grade cameras have high quality glass. Canon makes a big deal about their fluorite lenses, but in my opinion, it’s all 6 one way, half a dozen the other. Now, if you get a camera like the XL-2, which allows you to replace the lens, you WILL notice a big quality difference it you get the adapter to mount cinema lenses on there, but you’re talking over $10,000 there.

      Hard drive recorders are great, but I use them as a backup only. I always record the original onto tape, because you just never know what can happen to that hard drive. I had a 300GB drive once that came unclipped from my setup, fell to the floor, and it destroyed the arm, making the drive useless. DV can just take a lot more of a beating, and so I keep them rolling, even if a hard drive is there to help out.

      Shotgun mics: good idea, if you get a good one. If you get a cheap mic, you’d be better off just to save your money. Ideally, you should get the mic about two feet from the talent, if possible, which means either boom stands, a boom operator, or giving up on that idea and going with lav mics.

      Hope all that helps!

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