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Preparing images for video in Illustrator

From: Video Production with Creative Suite 6

Video: Preparing images for video in Illustrator

Adobe Illustrator is an excellent choice if you want to create graphics for Premiere Pro or After Effects, for example. It's vector-based, and it's very flexible. And well, it's Illustrator and it's designed for illustration. With the later releases of Illustrator, we now have the option to create new files that follow particular profiles. So, here for example, if I go to file and choose New, I can choose a film and video profile.

Preparing images for video in Illustrator

Adobe Illustrator is an excellent choice if you want to create graphics for Premiere Pro or After Effects, for example. It's vector-based, and it's very flexible. And well, it's Illustrator and it's designed for illustration. With the later releases of Illustrator, we now have the option to create new files that follow particular profiles. So, here for example, if I go to file and choose New, I can choose a film and video profile.

And this is automatically going to give me the right dimensions for different kinds of video format. Notice that these are square pixel versions of these formats. So for example, if we're going for PAL DV Widescreen, here you can see we're getting 1050x576 pixels rather than the usual 720x576 non-square. It's the same thing for NTSC Widescreen. So, just be aware of that. If you're working with full HD formats, then you should expect to see regular square pixel options.

Of course, there are what's called thin Raster HD formats as well. That would be, for example, regular HDV is acutlaly 1140x1080. Same thing for HD cam. If I go for this 1280x720 option, that's the resolution of the video assets I'm using here. You can see we, we don't need to bleed. We want to be working with pixel units and we definitely want to be working in RGB color mode. Premiere Pro actually operates in RGB. So, if you're bringing graphics in that are using that color format, you're just going to be compatible straight away.

It's going to be fine. Same white case from print press, we're not going to go there. We're going to stick with the RGB, the raster effects, the screen resolutions not particularly important. Because Premiere Pro is just going to look at the number of dots. The main can we're going to look for really is the resolution of the image. So lets call this new graphic just so we've got a reference. I'll click OK. Of course, you can create and use templates as well. What we're going to get now is our safe action and title zones. and if I just scroll out a little bit, you get a sense of the area that we've got to work with.

This is our canvas. Just notice as well if I do go back to the new item option here, we do have the option to create multiple artboards. So, if you're going to create a series of titles and you want to use Illustrator, make as many of these as you like. When you save the document out, you've got the option of having an individual file for each artboard. So, it's a really quick way of duplicating your content. One thing worth noting about the resolution of the images you create with Adobe Illustrator is, of course, if you're working in pure vector.

It doesn't matter what the resolution is, you can always just produce it any resolution you like. However, when you bring the file into Premiere Pro, it's going to be converted to rasterized, a Bitmap, a pixel-by-pixel graphic. So, if in doubt go big and you can always scale down later. After Effects, of course, can now convert Illustrator files into shape layers. So you retain some of the vector qualities there. One thing to look out for is that Premiere Pro will tend to keep the resolution of any object that you create rather than the resolution of the canvas.

Just to give you an example, I'm just going to draw a really simple rectangle here, there you go. It's a white rectangle, and obviously this is not filling the screen. If I save this and just pressing Ctrl+S or Cmd+S, and I'll just call, well, let's keeps this as new graphics, here so you can see it. It's in the Graphics folder with the other assets here. So, let's save that, and I'll just click OK on the default options to save. There's nothing particularly special to say that. If I jump over to Premiere Pro now and I've got a project here for working with Illustrator.

If I import this graphic, I'm just double-clicking on the Project panel to import. You'll notice if I hover the mouse over the graphic, this is not 1280x720 resolution. It's 851x190 because that's the resolution of that rectangle. If I drag this onto my timeline, you can see it's just going to float in the middle of the screen. That original positioning that I assigned in Illustrator, it's completely gone. So what you want to look out for, if I just toggle back over to Illustrator is the addition of crop marks or trim marks.

You can add these manually, but we're going to show you a short cut as well. Let me just open up another graphic that I've got here. I'm just going to double-click and open up this latest news graphic. And this is got a few layers on it, some text. Okay, I'm not going to win any awards on it for graphic design. But you can see I've got a little strap line at the bottom of the picture, and this is inside my safe title zone. If I select any of the items here, I've got some text here. I can now go to the Object menu and I can choose Create Trim Marks. And this is going to create a trim selection that Premiere Pro will recognize.

Now, this, it can be pretty fiddly. You can just Click and Drag, and I'm just going to pull this right out first of all. There we go. And you can then line up with this black line which is the absolute edge of the canvas, depending on the view of course. You might find it easier to go to the View menu and just set this to Outline view. So, you get a clean white background, and now you want to drag in and use the Smart Guides to snap into position. But be warned, it can be kind of difficult to get it exactly on. You see here it's, it's not exactly, you can tell from the tool tip there, I'm not exactly getting 1280x720 resolution.

You can get it better by zooming in and holding down the Alt key here, and I'm using the scroll wheel on my mouse. And now, I can snap at a much higher resolution, if you like, and I can get it closer. And with a lot of fiddling, zoom in a little bit more. A little bit more. You can get it down so that it's pretty much exactly right, and that will work. When you import that into Premiere Pro, you're going to get 1280x720 resolution. If I just toggle back to Premiere Pro, I just import that latest news Illustrator file, and throw that on the timeline.

You can see there's the original, with no crop marks, so it's just in the center of the screen. If I import again, and this time bring in with trim, this version, where I added those trim marks already, and let's position that next to it. You can see the benefit is immediately apparent. I've now got the correct positioning of that strap line here. It is without the trim marks, and here it is with the trim marks. There is a short cut way of doing this though, and I don't know if this counts as being the right way to do it. Just close this down.

But it absolutely works. Let me open up that original again. If you go to the Rectangle tool, and I'll just zoom out a little bit. Here we go. And then just click rather than Clicking and Dragging. You can punch in the dimensions you want, so I'm going to put in 1280x720 pixels and click OK. There's my rectangle. Make sure we have the Selection tool selected and just let that snap into position. Then go to your layers and turn off visibility for that layer. You've still got the resolution though. Again, if I toggle over to Premiere Pro and open up a version of this with the rectangle, and click Open.

And throw that on the timeline, you see I get exactly the same result. I just zoom in a bit, you can see the Phase 3. So, that's with no trim marks. That's with trim marks. Could be a little bit fiddly. And then we've got no trim marks, but with that invisible rectangle. So, it's just a low down dirty way of doing it. I suppose another option would be to use a template and just repeatedly use that file, but this works, too. Of course, like any other kind of graphic media, the Illustrator files you import into Premiere Pro have no duration. So, you can trim these out, infinitely if you like and it'll behave like any other graphic or photo, or anything that just has no duration at all. So, that's preparing Illustrator files for video and importing them into Premiere Pro CS6.

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This video is part of

Image for Video Production with Creative Suite 6
Video Production with Creative Suite 6

29 video lessons · 3569 viewers

Maxim Jago
Author

 
Expand all | Collapse all
  1. 1m 25s
    1. Welcome
      1m 25s
  2. 14m 1s
    1. Introduction to multi-application post-production
      4m 46s
    2. Dynamic Link vs. round-tripping
      5m 22s
    3. One-way trips and the Edit Original command
      3m 53s
  3. 10m 53s
    1. Improving speech-to-text analysis
      5m 57s
    2. Using breakdown reports
      4m 56s
  4. 13m 16s
    1. Organizing projects with Prelude
      7m 53s
    2. Sharing rough cuts with Premiere Pro
      5m 23s
  5. 21m 10s
    1. Browsing in Bridge
      8m 35s
    2. Batch renaming with Bridge
      7m 26s
    3. Editing metadata with Bridge
      5m 9s
  6. 19m 22s
    1. Preparing images for video in Illustrator
      8m 32s
    2. Using Illustrator files in After Effects
      6m 27s
    3. Using Illustrator files with the Premiere Pro Title tool
      4m 23s
  7. 24m 38s
    1. Preparing images for video in Photoshop
      7m 52s
    2. Working with Photoshop files in After Effects
      10m 11s
    3. Working with Photoshop files in Premiere Pro
      6m 35s
  8. 27m 52s
    1. Creating audio for video with Audition
      11m 45s
    2. Sending work from Premiere Pro to Audition
      6m 32s
    3. Round-tripping a soundtrack from Premiere Pro to Audition and back again
      9m 35s
  9. 31m 19s
    1. Preparing content for Premiere Pro in After Effects
      7m 54s
    2. Preparing content for After Effects in Premiere Pro
      3m 36s
    3. Sending work from Premiere Pro to After Effects
      11m 14s
    4. Sending work from After Effects to Premiere Pro
      8m 35s
  10. 14m 39s
    1. Outputting pregraded shots for the edit from SpeedGrade
      5m 40s
    2. Sending work from Premiere Pro to SpeedGrade
      8m 59s
  11. 7m 31s
    1. Using Dynamic Link to share sequences between Premiere Pro and Encore
      7m 31s
  12. 10m 13s
    1. Sending work from Premiere Pro to the Media Encoder
      7m 12s
    2. Using the Media Encoder to output from After Effects
      3m 1s

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