Join Maxim Jago for an in-depth discussion in this video Integrating Photoshop into the workflow, part of EPK Editing: 5 Titles Graphics and Output.
Adobe make both Premiere Pro and Photoshop, of course. And they have worked very hard to make sure that you have great compatibility between the two applications. There's actually quite a lot you can do with video in Photoshop. Although, I suppose as an experienced editor, I'm not a huge fan of using that application when I've access to the amazing tools in Premiere Pro. Still, it makes an excellent graphics editor. And the compatibility between the two applications means that I can really just treat Photoshop as my graphics editor for Premiere Pro.
It's almost like an extension of the title tool. Now I want to mention just a couple of things about the work flow before we get into Photoshop properly. First of all, I can import a PSD file like any other graphic. I'm just going to double click here in my bin and I've got in our Media directory in my Graphics folder I've got a series of PSD files. Let me just switch this over to a list for you. So, now I've got three here and I'm just going to import the layered graphic for now and click Open. And when I do this I get the option to choose how the graphic is going to be imported.
Now, at the moment, this is going to be important with merged layers. That means I'm going to have a single footage item with a duration specified by my preferences, which of course I can trim to any length I like. If I switch instead to merging specific layers, then I can just turn tip box off and on box for these, that's fine. Or I can have individual layers which will give me separate items in the bin. Notice that I'm getting this Document Size menu. And this really confused me when I first started working with PSD files in Premiere Pro.
It's actually very simple. If you have this set to Document Size then if, for example, you're working on a 1920 x 1080 Photoshop document made for full HD, then regardless of the size of the item on a particular layer, then you'll have each layer at the full HD resolution, and the position of the item will remain constant in the composition. If instead, I choose Layer Size, then if I've got any items on layers in my Photoshop document that are smaller than the total document size, then well, whatever size the item is, that's how big it will be in my bin.
Now, this is great if you're using Photoshop documents as a sort of holding bucket in which you've got lots and lots of different icons or graphic motifs or items that you intend to pull into Premiere Pro as completely separate visual elements. But it's not so great if you want them to maintain their position on screen for the purposes of setting up a composition, because they won't. Each will have their own anchor point, and they'll all reposition themselves on screen accordingly. You'll lose that original placement within the composition.
So, personally, I pretty much never use this option. But I have heard stories of people using Photoshop as a store of visual elements where you might have 50 layers where each one is a different version of a little bosby in the corner of the screen or some other little graphic that the editor intends to use somewhere in some other way then keeping it in the original compositions. So it's an option. I also have the option here of choosing Sequence. And this is something that I rarely do because I tend to want my Photoshop documents as footage or as separate layers.
All this does is import each layer as a separate item and then put those separate items into layers in a sequence that sits in your bin. In fact let me just show you this. I'll just click OK and there we go. I've got a folder and each item is a separate clip in my bin, and I've got a sequence which if I open it has those three layers lined up. And, of course because you can nest sequences in Premiere Pro, which I'll do here by dragging and dropping straight onto my timeline, you see I effectively can treat that sequence as a single graphic.
Of course I've got unwanted audio there as well. I can just turn off Linking. Deselect. Click on it. Hit Delete. Turn on Linking again. So now I've got that graphic, and yeah, I mean that works. It's okay. The benefit of this, of course, is I can now go back to that method sequence, and I can move these around in how to make them and make changes as much as I like. Tha's great if you want to make an animated title in Premiere Pro, which I might do later with our strap lines, but it seems like rather a lot of extra clicking when you are really just wanting to bring in some visual elements.
So let me just close this, select that, delete it, and let's just get rid of this. I'm going to hit the bin and hit Delete. You can also generate a Photoshop document from inside of Premiere Pro that automatically matches the dimensions of your current sequence. I'm just going to tidy up the view a little bit here. Let me close these other sequences. So you can ee I've got my satisfied EPK video timeline open. And I'm going to go to File > New. And you'll notice we've got Photoshop File on the list.
Here are the dimensions, all set up already. Remember, Photoshop does have some support for video. So, I've got a time base here as well. I'll click OK. And I need to give this name. So, let's call this EPK Lower Third. And then save that. And this is going to pop up in Photoshop ready to go. What's nice about this workflow is that when you use it, let me go to my selection tool here. Photoshop will automatically have these guides which are set up for our safe action and title zones.
Now, the jury's out for me a little bit about these zones now because if you are producing video for broadcast television, you absolutely need them. But the question is, how big should they be? Because, now we're working with flat screen TVs, they have a different crop area to traditional cathode ray tube sets, and what do we really do with them? And I don't think there's an easy answer. There certainly is not a global answer, because as I've traveled around the world visiting different television stations, I've found that everybody has slightly different standards that they're working to.
It's terribly confusing. Nonetheless, while there may be some confusion about using these guides for the purposes of action framing, I still think there's a lot to be said for using this inner safe title action zone the 20% box for the placement of text. Because no matter what you do, if you put your text inside that inner box, you know that you're going to be safe. Regardless of the configuration of the screen, or the broadcast standard, or the cropping, it's going to be okay. So it's very easy to import Photoshop documents into Premiere Pro.
It's also easy to send the command from Premiere Pro to Photoshop to create a PSD file that matches our timeline framing.
- Choosing a look for your graphics
- Establishing a color palette based on existing footage
- Choosing fonts
- Working with title templates
- Integrating Photoshop into your workflow
- Working with Photoshop presets
- Creative ways of using graphics and titles
- Outputting files