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This course is part of a series that looks at Documentary Editing from the point of view of 3 different editors in 3 different editing applications. For more insight on editing documentary projects, take a look at Documentary Editing with Avid Media Composer and Documentary Editing with Final Cut Pro X.
- Interpreting a creative brief
- Logging interviews and other footage
- Pulling selects and presenting ideas
- Building sequences and scenes
- Creating title graphics
- Animating images
- Adjusting b-roll shots
- Tightening clip timing
- Compressing and exporting multiple files
Skill Level Intermediate
We've just build a title for our video in Photoshop using Layers. Now it's time to import that title into Premiere Pro and animate it. We need to import that Photoshop file that we just made. There is no need to really look at it because we just made it. In this case, I want to do File Import, and I want to go to the version of the file that I created ahead of time. It's here in the exercise files. You probably saved your own on the Desktop, and you can use either, but I've provided a version for you. Just in case there are some small discrepancies, we can all stay together in our example.
Okay, this is important, and we're going to choose something different than we did last time. First of all, you can see that our background layer was already turned off, which is as we want it, but I don't want to merge all layers. What I want is a sequence. I need to have all three of this layers, TABLE, to, and FARM lined up so that I can bring them in one at a time. You can see that our title was now imported as a folder, and inside that folder I have each layer of the PSD as a graphic, and I have a sequence that represents all of them.
Just as I organized, I want to do one more step, because every type of media I have I've got a root level folder for. I want to go New Bin/titles and then move this new Title package in as well as the Temp Title that's still in the project, even though we don't need it anymore. It was just temporary. Okay, here is where we really want to work. And what I want to do is open this sequence that has the graphic layers.
Here you can see all three layers, and what I want is for them to come in one at a time, first FARM, then to, then TABLE. So make these into a little inverted stack, and just approximating, I'm going to go for about a second in between each. We'll be able to adjust that later. And then I'm going to throw a simple Default Transition on them, and I'm not that worried if we're overlapping a little bit. I haven't quite decided what the aesthetic will be like here.
So we'll line them up so they are overlapping but just a slight bit. So one starts to fade in right as the other one is finishing. And then we'll also extend here because we want to have plenty of footage to work with. And I'm really not that concerned about going too long, because we can just cut this off later. Okay, I think that will be enough, and I think for timing is good, but it won't be a problem to come back in here later. We can give it a quick watch up here on top of black, and of course they are coming in one at a time.
So now back on our main Timeline, I've still marked where this old graphic was, and I want to move the whole sequence down onto Video 3 creating what is known as a nest. I'm noticing that that audio from the nest is coming down, and it's going to interfere with my music, I don't want that so I want to quickly lock my audio track so I don't create a problem. Now no audio will come down. I'm going to start that a little earlier because remember they fade up one at a time now.
Okay, we've just got a look at this to see if we're in the ballpark or not, and I like to bring it all the way to the beginning. So first moment of our piece, got a nice image, natural sound, let's see how the title's working. (video playing) I got to say my timing is almost exactly what I want. There's just a few more steps to make this work well. And as you can see, our goal is nothing fancy, just something that feels really natural and organic with our material.
So I want to trim this back to about the middle of the video transition, and I want to create its own transition but a shorter one. I'm just want to not draw attention to this fade out. I'm hoping we can just kind of get it to mix in with the other transition and not call attention to itself. That part looks good. There's one more trick that I really like here. I have this idea that I can sync with the pan.
So I'm going in one direction, and I have a feeling if I put a little bit of animation on this in that same direction or maybe the opposite direction, I'm not quite sure yet, I'll get something attractive. Now the nice part about working with the nest is now I want to animate all three elements, not individually. So I can make my keyframes here on the nest or on the sequence. So go ahead and load that up into the viewer, and you see that I'm now controlling the effects on the whole nest.
So the rest of this won't be difficult. We can throw a keyframe at the end where we want the things to land. And I just want to experiment with a little bit of motion starting at the beginning so that the title will move in sync with the pan. There we can see that little bit of motion being created, and it might even be too much, let's see. Move this keyframe outside the transition so it stays in motion, and let's see if we've got what we like, we may need to render this to get a good idea.
It's becoming a pretty complex effect to play in real time. (video playing) Too much motion. It is what I'm looking for, but it's just going too far. I want to start it much tighter. I just feel like the subtlest bit of motion is going to help this piece. (video playing) For now that's exactly what I'm looking for.
There is still going to be time to make some tweaks, especially when we adjust the color of the image and also the composite of the graphic. But for now, we've really represented the way I want this to look.