Streamlining the promo graphics workflow
The network rebrand presented an opportunity to rethink the promo graphics workflow. While on-air promos are typically only a few seconds long, the graphics work that goes into creating multiple versions of motion graphics to be used on various spots is by no means simple. For each version, Oxygen’s editors must update the lower thirds, title cards, end pages, and more, which typically requires leaving their familiar non-linear editing (NLE) environment.
Earlier in 2017, Andrew Killoy, a Supervising Producer on the promo team, was introduced to the Essential Graphics panel in Adobe Premiere Pro. Although Premiere Pro allows creatives to develop motion graphics within the program, Killoy was more interested in exploring how the Essential Graphics panel together with the newly branded Motion Graphics templates created in Adobe After Effects could simplify the process of adding constantly changing motion graphics to promos.
“Having a creative department that can handle graphics creation and video editing within a non-linear editing workflow was always the Holy Grail for us,” says Killoy. “When we learned about the Essential Graphics panel in Adobe Premiere Pro, we quickly realized it was the ticket to the workflow we needed.”
High tech with high reward
The team wanted to be able to take its standard, everyday promo graphics and use Motion Graphics templates to edit them within Premiere Pro rather than going back to After Effects to make simple text changes. In addition to benefitting editors, this workflow would free up the graphics team to create more high-end graphics because their time wouldn’t be bogged down with repetitive editing work. Laura Lee, a Senior Motion Graphics Designer, and Matt Landin, an Editor on the promo team, took on the challenge of getting 100% of the network’s on-air graphics package to the point where the Creative Director couldn’t tell how it was created.
Controls within the Motion Graphics templates enable editors to change text, add a highlighting effect on title cards, and more with just a few clicks. Rather than creating new individual graphics leading up to a show’s airing—such as next Saturday, tomorrow, tonight, or next—editors can simply retype the different tags and update a single graphic.
“The first time I used Motion Graphics templates in Adobe Premiere Pro to tag an on-air promo, a process that would’ve normally taken two hours, I completed 26 versions in just under half an hour, which was awesome,” says Landin. “Now, our editors have access to everything they need in Adobe Premiere Pro to make necessary adjustments to titles and other content without losing the overall brand feel.”