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Creating growing vines

From: Premiere Pro CS4 Beyond the Basics

Video: Creating growing vines

This video is going to be more of kind of like a demo rather than a hands-on tutorial. I just want to give you some ideas to play with here. Another one of those common design trends that you see a lot are glowing flourishes, filigree and vines, and all that kind of stuff. So this is just kind of like the end- product of what we're going to make here, and this is something I actually did out of After Effects, and so I used After Effects to make these vines kind of glow a little bit more, and add this cool gradient background, but nevertheless, this idea of growing vines is something you can do in Premiere.

Creating growing vines

This video is going to be more of kind of like a demo rather than a hands-on tutorial. I just want to give you some ideas to play with here. Another one of those common design trends that you see a lot are glowing flourishes, filigree and vines, and all that kind of stuff. So this is just kind of like the end- product of what we're going to make here, and this is something I actually did out of After Effects, and so I used After Effects to make these vines kind of glow a little bit more, and add this cool gradient background, but nevertheless, this idea of growing vines is something you can do in Premiere.

The reason this is going to be more of like a demo than a hands-on tutorial is because it's not something that Premiere can handle quite well. So I have, here, this PSD file and it's layered with all of these different components, and that's one of the most important aspects of this is that in the setup work, before you bring in your vines or whatever you are going to be animating to grow on, you need to have a separate layered file where each one of those components is on a separate layer. So what I'm going to do is I'm going to take off the visibility off of all the vines except for this main vine.

I am going to resize my window here, and I'm going to apply the Write-on effect. That's W-R-I-T-E not R-I-G-H-T, write as in write with a pen. Apply the Write-on effect to this main vine, and now the Write-on effect actually is a very cool one. It allows you to create animated signatures and as we'll see these animated painted on vines, which is pretty cool. So I'm going to open this up, and I'm going to click the word 'Write-on' so we get our Effect Control point.

This is going to be critical. This little point here is essential to being able to use this effect well. So I'm going to put this down at the base of the vine, and just so that we can see stuff, I am going to increase the size of the brush, the Brush Size value, about 21 should do it. I want to make sure that that fits over the thickest part of our vine, and it does. That works. So we'll leave it there. Now at first, it might not be obvious what we are doing here, but that's okay, just stick with me, and then the purposes for the doing what we're doing will make more sense.

I'm going to click this stopwatch for Brush Position because that's what we're going to be animating here, the movement of this little icon here, which is the brush. I'm also going to zoom this in to about 400%, making it easier to see our little brush control icon. You can use the scrollbars on the sides and the bottom, as necessary, and then we are going to move in time, making sure that we have already clicked the stopwatch here, and we'll just grab the Effect Control point and move that upwards. Okay, now, here we see one of the great problems with why this is a demo not a hands-on tutorial.

Premiere just really doesn't handle that very well. Now what should happen is that there should be a line connecting the first keyframe and the next keyframe, but there isn't one. If we were to play this back and actually render this, we would see it, but it's not there now. It makes this very challenging to work because you can't really get a true assessment of what you've done. So we'll just keep going along here, and I'm going to give you the pointers for what this should look like, and hopefully it will make sense and you will be able to recreate this on your own.

See, this is what it's supposed to look like, is that the white is supposed to kind of cover up the vine, and so we then move in time some more, and move this point a little bit more, not those handle like that, that's not what you want to move. You want to move the circle itself, there we go, and it takes a long time to update visually, and sometimes even when it does update visually, it doesn't quite do it all the way, but nevertheless, we keep trotting on and we move this point, and the point is you want to keep moving in time and changing the brush position until, eventually, the entire vine is covered.

I'm going to change the zoom back to Fit so you can see the entire vine here. Now eventually, what you are trying to do is to paint the whole vine and then go back to Paint Style at the bottom, and instead of painting on the original image, which is what we are doing here. We have white paint as you can see by the color here and we are just painting white over the vine. It's not all that great. So what we want to do instead of painting on the original image, we want to reveal the original image with our paint. So nobody will ever see our paint.

It will just use that paint to reveal the vine and that's what we are getting at. There we go. That's what we are looking at here. So we want to have it reveal the original image so our paint actually uncovers what's already there, and so what you do is you animate that vine being written on and then you animate all of these little smaller side vines that we have as well. I'll just turn off the visibility of that layer so we could see everything else here. So we have all these other vines, and you animate them, animating on as well, and you put them all together and it creates this big beautiful vine that looks amazing.

And one of the things I did in the final version here was that I did kind of like the equivalent of a nested sequence. I took the entire vine with all of its branches and I nested them in one big sequence and copied them and rotated them. So it looked like there was a bunch of them. And that's kind of like the trick with these growing vines to make them look beautiful is that you have one beautiful vine and then you just kind of duplicate it and tweak it a little bit, maybe flip it, and maybe you make a few bigger and smaller, and so then when you put it all together, you take all these spiny stuff, and it looks like super ornate and beautiful, when really you just animated one vine and duplicated it several times.

So again, it can get frustrating. You might need to do some temporary rendering here to get things to show up and work properly, and it's a little frustrating, much easier to do in, say After Effects, but nevertheless, it can be done here in Premiere and it's a very popular effect.

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This video is part of

Image for Premiere Pro CS4 Beyond the Basics
Premiere Pro CS4 Beyond the Basics

82 video lessons · 20111 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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