Make a Creative Animated Name Bar using only Premiere Pro | Joey Bettenbroek | Skillshare

Make a Creative Animated Name Bar using only Premiere Pro

Joey Bettenbroek, Filmmaker & Video Editor

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8 Lessons (37m)
    • 1. Make a creative animated Lower Third using only Premiere Pro

    • 2. Components, what do we need?

    • 3. Making the polaroids

    • 4. Stacking the polaroids

    • 5. Making the name bars

    • 6. Filling in the name bars

    • 7. Animating the lower third

    • 8. Congratulations and thank you


About This Class

A lower third, also known as the bars with someone's name and title appearing into the screen when watching a video. How to make one, animated it and use it all without using 3 different types of software.

Normally if you want to make a good looking lower third you will use multiple different software. Like Adobe XD, Photoshop, After Effects, etc. But in this class I wanted to show you want you can do with ONLY Premiere Pro.

So I designed a creative lower third that I will make and animate in only Adobe Premiere Pro. With all the techniques I show you in this class you will be able to make your own creative animated lower third for your own videos or brand without learning new software.

I bring you alone for every step of making this lower third.

So I hope to see you inside!


1. Make a creative animated Lower Third using only Premiere Pro: hi, guys, and welcome to this class mining Nigerian. I'm a filmmaker and editor from the Netherlands, and today in this class, I want to teach you something that's called a lower third. The lower third we will make will look something like this. And of course, you can check out Shoot that video on YouTube, where you have much more educational content about filmmaking from me. And as you can see, it's a nice looking lower third with a name and a title and some pictures, and we're going to make everything inside off Adobe Premiere Pro. As an editor, I'm working most of the time in Premiere Pro, but for lower thirds or titles or things like that. You work most of the times in other software, like after effects for the animations or Adobe X'd or Adobe photo shop for the Graphics. But in this glass, I wanted to show you what you can make inside off Adobe Premiere Pro so only animations and graphics you can make inside off Adobe Premiere Pro. So I'm super excited to teach you that this last will exist off seven episodes where I take you step by step through the process off making this lower. Third, I'm working in Adobe Premiere Pro Sisi 2000 and 20. But you could do this with almost every adobe premiere pro version. Definitely the CC ones. So if you're ready, that I'm ready to and then we will just start with this class. I will see you in the next episode. 2. Components, what do we need?: Welcome to the next episode called Components. Over Here. I got a folder with components because we need some components to make this lower. Third. Like I said, we do everything inside of Premiere Pro, but some extra things like the Instagram logo or the photos we have to collect them. So, first of all the photos, the lower third exists off three different photos. Eso You have to collect three different photos, and for this effect, it's the best if those three photos are squares. So that's why I'm scrolling through Instagram. And that's why I'm going to take Screenshots off the squares because the feet of instagram are already squares. So I will hit comment Shift four and then I can green shot something like this so I can screenshot a perfect square over here. 293 pixels by 293 pixels. A perfect scratch. But you can also crap off course whatever square picture you want. So a screenshot it three different square photos. You don't have to have, like super good quality pictures. Thes small screen shots are enough. So for over here, I've got an example video foul work with. But this Oswald is a phones. Oswald is a Google phone. And why did I chose all swell? Because all swirled is kind off a narrow front. That means that the letters are close to each other, so the title bar will not be too long. Also, I picked some social Aikens. These are the official show show Aikens from YouTube and Instagram, and you can find the official Aikens most of the time by typing in Google. Instagram Brent Resource is or YouTube brand resource is, and then you get like all the rules and the logos and icons, the official Aikens from YouTube and instagram itself. If you do this and you stick to your rules, it's okay to use the icons, although, as it's Leo, if you, for example, changed the color or something, and that's already everything we need to. In the next episode, we will fire a premiere pro and just thought 3. Making the polaroids: Hi, guys. Welcome back. We're firing up Premier Perot right now. I'm making a new A project called Making a Lower Third. And this is our new project. So we're importing everything we need into this. Project them. We're creating a new sequence. I'm creating a 10 80 b 30 FB a sequence I call the sequence of the lower third bump. We're importing our footage. Keep existing settings so we can start building the lower third. In this first episode, we will make the Polaroids. So from these Queen Charlotte share photos, we will make a Polaroid that looks something like this. It's super is to do, and it's just a nice effect. So how will we do this? First we start with the photos. So we import these photos, I make the photo super long. So like more than 10 seconds or something. So in the end, we can make the lower third as long as we want. So as you can see, this is a very small picture. But that's OK, because the lower threat is also very small. So the pictures don't have to be that big, like I told you. So we will make that Polaroid background out of a cooler Met What is a column at? Let's make one. Then we go to new item. We goto color met than these are the official settings off your sequence. So that's OK. And then we want to make the column it white. So we select pure right f f f f f go to okay, and then we can name it to Gollum. Matt White, for example. So this government what, you want to drag that on top off the pictures, But in reality, we want the picture on top. So we changed that. So now the picture is on top. A color man is just a full screen whites picture. You can call it because if we select color Met White because the Fed controls and we hit skill, for example, we had the position, then you see, it's just a white picture. So let's not do this all by reset effect, because how will we make from this full screen white picture the Polaroid backgrounds? You can do that in different ways. For example, here, under motion and scale, you can uncheck uniform scale and then you can scale the height and the width. But that's not how we will do it, because then it's kind of hard to scale it normally after you're done. So we checked the box uniform scale again. We will use the effect Krupp. So we're going to effects. We type in Krupp, and we drag this effect on top off the column at whites. Then we're going to affect controls and then of here under crop, you have the options left top right and bottom crop. And if you play with these percentage, you can. As you can see, you can Krupp a part off that background. So first we want to have, like, a square that's a bit bigger, then the picture itself. And because the picture is on top off the square, it looks like the picture has some borders. So we first started cropping the left side's to something like this. So 41% and because the picture is exactly in the middle. Um, we know that the rights I will also be 41% to get the exact exact same thing. So let's have a look at the top one. The top one we do. It's kind off the same 34%. That looks like the same thickness. So then we also know the bottom is also 34%. But it we're going to look at the Polaroid picture over here, for example, you can see that the bottom off that picture is always a bit bigger. So that's super used to fix, because that that means that the bottom will not be 34% corrupt. But the bottom will be, for example, 30% corrupt. So the bottom gets a little bit bigger, maybe even 29. And then this looks already like a Polaroid picture, but I think the borders can be still even smaller. So, like 40 year, 41%. So also the left 41% and on the top that it will be something like 34 0.7. That's fine. So now the borders are even smaller show. It looks even more like a Polaroid picture. So to make three different Polaroid pictures, it's super simple, because we have teach our two photos, so we direct them to the second layer, and then we select D column it whites we made. We hold old on our keyboard and drag it underneath the other ones. So again and again. So at this point we have three different Polaroid pictures. But at this point, we're working with two different layers. And if we want to move the pictures around so we can make like the stack off Polaroids, then it's kind of hard to grab them over at the same time. So we will nest those two layers in tow, one layer. So how we're making an acid sequences super simple. We're selecting the layers we want. We had the right mouse button and we go to nest. Then we can give the name. So in this case, Polaroid one, we hit OK, and then this is like one layer now so we can direct this layer around. We can play with it. We can place it wherever we want, but it will double clicking on this Polaroid one layer. Then then it's opening a new sequence with the two separate layers we had in the beginning , so you can always go back and change things, so we will do that with the other ones to Pola Roy. It's too, and the 3rd 1 bore Paroled three. So now we have three different nights Polaroid photos, and in the next episode we will stack them together and make them beautiful. 4. Stacking the polaroids: Hi, guys. So we left off with these three separate Polaroids, and now we're going to stick them together. So we put those Polaroids on top off each other like this, and we will corrupt those Polaroids. And we will put them on top off the video food itch like this so we can see better what we're doing. So at this point, we will select the Polaroids. I will turn this off from that right now and then We're starting with pulling number two, and we will play with the position. So, for example, this 2nd 1 we're placing somewhere over here total the I own again. The 3rd 1 were placing maybe somewhere here. But you can through this in any way you want. Maybe something like this. Yeah, This looks nice, because then you see most off the things in the pictures. Okay, so at this point, we made a nice tech, but it's kind of flat. So what I want to do is I want to add shadows onto the Polaroids. So there's a little bit more depth between the three pictures on the stick. So we select bull right one, for example, we goto effects and then we searched before the effect drop shadow. It's under video effects perspective and then throw up shadow. So we grabbing drop shadow. We throw it unto Polaroid one in my case, but I can recommend to throw it on the top layer, and then we're going to effect controls and we're going to add a shadow. So first, always start with a 100% that's super ugly, so never used that. But that's just to see what you're doing with the other settings. So, for example, the distance, if the distance is bigger, you see what you're doing like this to its direction. Do you want your shadow? So I will always like to have the direction directly underneath the pictures. So that's 180 degrees. And then you probably think, Why do we want that? Because if we're setting the distance right, something like this and we put a lot more softness on it than as you can see, then I hope you can see it. You also have some shadows from the sights, and that's what we need a soft shadow from the site, so you can do that with the softness. So a lot off softness and then maybe the distance a little bit less. So now we have a nice shadow, but it's way too much because the past is still on 100%. So we put the capacity on maybe 50%. So if you're hitting F X right now, you can see the picture with without and with without and with the shadows. So then, at this point, I'm thinking 50% capacity is still too much, so I will put it on 40. So now we made a nice drop shadow. But the beautiful thing with an effect like this is that you can select a drop shadow and you can copy it by hitting your right mouse button and then copy or by hitting comment C on your keyboard. Or, if you're working on Windows Control, see, and then we can go to the next Polaroid Polar three. We select the layer, and we can just hit comment V or Con Trophy. If you're working on Windows and then the exact same drop shadow is now on the other Polaroid picture. So for the 3rd 1 the same selecting it comment or control V and now all these three pictures have a nice shadow, so it gives more depth. So now we made this beautiful stack and there's one last thing we have to do because we have to place this stack in the right corner and the right size. So we have to merge all the layers together again because then we can drag that stack around. So we're selecting thes three layers again. We're hitting a nest and we give it a nice name in this time both LeRoi it stick. So now the three layers are one layer again so we can drag these three Polaroids around together. And it were opening the Polaroid stack. We see our three different layers and it were opening like, for example, Polaroid one again. We see the old two different layers from the beginning. So that's how NASA sequences work. So for now I will close them. We will place this beautiful stack in the right corner. So first I want to make it live it smaller. Something like this. If it is nice and we will direct the this stack into the right corner, most off the time. Lower third is in this'll corner, so we will place. It's somewhere around here. And that's it for the Polaroid stack. In the next episode, we will make the name bars, so see you there. 5. Making the name bars: Hi, guys. Now we will make the name bar sh And that is something we will do within technique. We learned before and that is making a color met and cropping it into the right size. So I want the first Barto have the white color so I can use this color met white again. But if I ever want to change the color off my bar later, then that is super easy and possible. Because you can just double click on the Kola, Matt. Then change the color for example reds and then hit. Okay, But then the color will change on every graphic you use that color meant for So in this case, it will also change the color off the Polaroid pictures. And I don't want debt. So we keep this white and we will make another column. Mats. We want toe also, make that white, and then we call that one name bar. So now we have our own column at for the name bar, so we can change the color off only that bar later. So we make this government a little bit longer, and then we will go to effects and search again for the corrupt effects. We direct crop effect on the column at select column at go to affect controls. And then you just have to corrupt the top and the bottom to make a good looking bar something like this. It don't have to be perfect, because now you can go to the motion and you can play again with the scale and position so we can skillet little bit down and then place it where we want to place it. That's over here somewhere. And now, of course, the bar is above the Polaroid. But we can put the Polaroid Steck off course on top, and now you can see because of the shadow. It looks already kind of nice. Maybe it's a little bit hard to see. I can understand that. So we will zoom in bits. But I think I got it looking nice like very quick. So the school and off course the length off the bar is not important right away because we can always crop the rights more or less so we can make it longer or less long. If need, it's so we grabbed these two layers, direct them above because we still have to make one other bar. And that's the second bar with, in my case, the YouTube general. But maybe for you, instagram or your title, whatever you want for dead, we have to make a new column it off course. But that's not the problem. Go to your projects, new item governments, and then grab another color. In my case, I want to grab Ah, black color, but not really black, Um, a little bit more to the grayish black. Something like something like this. Not really black. That's kind of the same color. Pretty a pro. So we grabbed the column at Drag it onto the timeline. I will put this one back to fit, and of course, we can start over and crop everything menu again. But that's really stupid if you do that, because we can also go to the column, it's name, bar and to the effect controls and then select Moshe. Hold comment or control on your keyboard. Select grew up. Now, both off, these things are selected, so now we can hit comment, see, on our keyboard or control she We go to the column at not really black, and we hit Commons V So now the column and nose really black bar is the same size as a corner mate. Name bar. You can see it off course right now because, ah, it's underneath the other bar. So we have to track that down and there it ISS. But we want that bar off course a little bit smaller. So how will we do that skillet down a little bit and then just drag it underneath the other bar? You can, of course, decide how big you wanted. Also again with the crop. So if you want it thicker, then you just change the bottom crop. So I will zoom in a bit again. So something like this is fine. And of course, like I told you before, we will change the right corrupt. Just so the length off the bar. We will change that later. And then there's one lost fun thing to do, and that is also put a drop shadow on the bars because you also want a little bit more off depth between the bars and the actual video. So we will find the A drop shadow from before we go to Polaroid Stack and then D and then on this Polaroids, there is the drop shadow. So we've got to drop shadow. We will, right, mouse button and copy it. Then close there to go to the color math name bar and the not really black. Select them both and just hit Comment V or Control V on windows. And as you can see now, there also is a small shadow on the name bars. So that's it from making the name bars, and in the next episode, we will fill in the name bars. 6. Filling in the name bars: So now we will start making the titles. The 1st 1 is simple because that's just one simple title. So we're hitting the type to hear clicking onto the program monitor. And then we're typing my full name, which is Joey on. My last name is better on Brook, which is a really Dutch name, not another common name, but but how you pronounce it is really Dutch, so we're selecting everything. And then if we open up this text tap underneath the effects controls, then we can change here everything we want. But you probably know how to make a text in Premiere Pro I told you before about a formed I wanted to use because it's a very narrow phone, so the text will not be very long. The name of death phone waas also waltz, But then off course, this'll is the wrong color because on the white one, I want the color off the almost black and on the almost black one. I want the color white So we hit fail and then with this little too we can select every color inside of this program as you can see so we can also select really easily this not really black color. So we hit OK, and then the texts becomes that color that we can also change the size off the text over here so we can change it up to 80 for example. But we can all could also just do that with the appreciation off the factor, emotion, the position and the scale. So I will first drag it to the bar and then this already fits, But I'm think it's a little bit too much. So I will make it maybe 90 skill and then I will place it Aunt up off the bar. It looks kind of nice, you know? Let's change the, uh, son thinking maybe I want to try another fund. So now I'm trying PT cents narrow. Also just a normal kugel front. So let's see how that looks. This looks also kind of nice, so I will use PD, says narrow. But that's just design, and you can spend hours and hours more on that. But what I will do is make this text layer longer and then the second taxes a little bit more difficult. Not really, but the text has a icon in it, so like a cultural research for the official ICANN's. The's are YouTube and Instagram, and I will use the white. I come because it's on a almost black backgrounds. I need more layers, Right? Mouse button adds tracks, ads like five other video tricks that I'm moving at this down a bit because we don't need audio for this. So now I have way more room. So okay, this cycle. So first off, all this Aiken is, of course, way to be big. So we drag this, I can a little bit smaller. It does have to be the perfect size, but you will see that in a minute. So now we're going for the text layer and then apple type in this case, my YouTube 10 0 shoot that video. And today I don't want it in almost black. But I wanted to be whites. And then we will place the text and the icon and next to each other, we would just line it up Nice. The YouTube pike, and for probably it's smaller. Now again, we want to move these two layers together. So what are we going to do? Nest the layers and then we select both layers to shoot it feel layer and the YouTube I can We hit the right mouse button and we hit nest and them I can plus text So now we can select the Eiken plus text and we can, ah, to rag it all the way to here. Then we see that it is still a little bit too big, like more than a little bit. So we make it smaller, like 80% or even maybe 70 70 looks nice and then we can drag it to here. And I think, to be honest, that issued that video text is a little bit to bolt. So we're going into the ICANN plus text and we change it from both to regular. And I do think that's better. And at this point, we can adjust the name bars off course because now we know how long the text will be. So we can go to the name bar. We can go to crop and we can go to write and we can make it like this and the other one something like this and that is filling in the name bar. So now we built everything. Everything we need. We just build it in the next episode, we will. Any made anything so things will flying into the screen and things like that I will see in the next episode. 7. Animating the lower third: So in this episode we will animate all the things and with all the things I mean five different things. I want to animate the different Polaroid pictures. But I also want to animate the difference a name bars. So how will we do that? First of all, we want to animate the text and the name bar together. So that means something like we did before. That's nasty. Those to live together. So the ICANN and the text over here, that's this'll one. And with that, we have to nest the government Not really black. So we're selecting both these layers. We do that by clicking one and then hold shift and clicking the other one. We hit the right mouse button, go to nest and call its title less General Bar. And we had Okay. And now we have one layer called title slash General Bar that we can animate. The other one is my name. Uh, plus the color met Neymar so we could hit the right mouse button over their nest full name bar. So now we have three different layers weaken any mate. But I said I want to any made five different things by the way. This is not looking good. The Polaroid stack always have to be on top off everything. So okay like this. Why five? Because I also want to fade in all the different Polaroid pictures. But we can do that inside off the Polaroids Tech. So we double click on Polaroid Stack and then we can Over here, we can apply some fates. The animations I'm doing in this episode are super simple. Petal together are looking kind of nice. So we're going to effect. We're going to video transitions, we're going to dissolve, and then we're taking a crust is off, and we're putting that cross dissolve on top off the first Polaroid, of course. And that's the one on the lowest video layer. This crosses off is worry too long. So we have to make that a lot smaller, like 10 frames. That's fine. Then we take the 2nd 1 and we start that fate after the 1st 1 So you get what I'm doing here also, like only 10 frames and then the 3rd 1 off course starts after the 2nd 1 Cross this off. So now if we're going back to the lower CERT sequence then we can see that it looks not something like this. I want the name bars coming from behind the Polaroids sliding him so off course we can start animating debts after the Polaroids faded in. So deaths somewhere here. So we moved a title bars Teoh here. So we start with the full name by which selecting full name birth. We're going to affect controls and then we're going to play with the position because the animation has to be from here to to Here. We do that with the toggle animation function over here. So stop which I can What you have to know about animation is that you're selecting one point. You're selecting a second point and it will automatically go from one point to the second point. So we're starting at the beginning. We concluded Over here we can make this a little bit bigger. We're selecting stopwatch so we can animate it. And then the first key frame is already made. But the first G frame, we want to have it at the beginning position. So we move this one all the way to here. Don't freak out that you still see the bar from behind here because we will fix that in the next step. But first we will make this animation so this to begin point and then we will play and we were pause again so we can decide how long we want animation to take. We can always change that later, but for now I will choose the second point somewhere over here. For the second boy we wanted into in the beginning position off course because we already made design and we wanted to be so we can just hit this reset para meters and then the second key frame is the normal position, said not the animation. Is this maybe a little bit too long? So I contract this last point a little bit earlier, but it's also a little bit boring because now it goes from one point to the second born with the exact same boring speed. So how we can change that is with priests had called ease in. So we're selecting both Boynes. We're hitting the right mouse button, then we go to a temporal interpolation and then we hit easing and what is in the US that the animation is starting really fast and then slow down at the end. So that means that it is you who shu sh instead off the same speed all the time. And we can see how that works if we're clicking this arrow. So then we're opening the properties than we already see that there is a little bit off a kerf instead off a flat motion, and we can make that curve even bigger by grabbing one off these dots and dragging it to the left. So now you can see that that curve is really big. So so the animation is probably really smooth out on. Then it's slow down, and you can decide for yourself If you want the animation to be longer or forced. I like a more faster animation, so I will drag this last point a little bit to the left. But like I said, it's something you can decide for yourself. You can do that same animation on the second bar, but you can also that's just to make a way easier. You can copy this motion by right mouse button copy or common C on your keyboard, and you can select the second title bar and hit common V So now the animation is exactly the same and that's kind of nice. But what I like more is zooming in on the timeline and then moved the second title bar like five French to the right. Then the second title bar is coming just a little bit later. And after we did that, it looks something like this and that's already kind of nice. But there was one last thing I had to fix with, you remember? And that is that any beginning, you see the name bars coming behind the Polaroids, but also on the left. You see, it's speaking truth. That's not what we want to do, that I will put an mosque on this part off the lower third. And of course not on the Polaroid pictures, but on the name bars. So everything behind this square I'm drawing right now will be gone. We can place a mosque on the bar, right way on Pastie Mosque. But because off the animation we did of the position, the mosque will also be moving together with the animation we already did. So we don't want it because we want the mosque to stay in one place so for the last time this class, we have to select both bars and we have to nest them together. So nest and then we can call it name bars. We hit OK, and now this is not an animated thing because the animated bars are inside off this sequence. So now we can put a mosque on top off this part off the video. So how we will do that is go to a pass, it e. And then I'm hitting the four point religion mosque and that will look something like this . And now if you could see if I'm dragging this mosque around, you can see that everything inside this mask it's visible. But we want to have it the opposite on that super easy to do, because it was strong that we can just hit this box, inferred it. And now everything outside off Damascus visible. So with that said, I can make this mosque a little bit bigger by selecting this point holding shift, selecting the other points, then make this mosque a little bit bigger like this. By the way, masking is a super heavy task for a computer. Shalit super slow for my computer right now, But we will move this mosque somewhere over here. So on top off the place we talked about. So everything on the left off the Polaroid pictures is now mosque out and the text bar is not visible over there. So if we watch the name bar animation again, then it looks something like this. And that's what we want. You don't see it speaking from the beginning. You first see the 1st 3 Polaroid pictures fading in. And then in June and June, the to name bars are fading in. That's our lower third, and it's definitely not necessary. But if you want to nest dese two layers together so you have one lower third layer. That's of course, also possible Possible. Then you can call the last nested sequence you make lower. Third we had okay. And then this layer is D lower third. We made and I made every layer so long because now we can just cut off the lower third and maybe faded out. So it comes in death command. You can read it. And then over here, you pause it, you trim it and you can put a cross this off. Fate on the end, so it fades out nice. And then we have a nice looking lower third. But keep watching till the last episode because I have to ask you something. 8. Congratulations and thank you: Hi guys. So this east the result we made and I'm quite happy with it. Like I told you in the first upside. Normally, if you make like the Polaroids in Adobe X t order before the show, it will be way faster to do all of this. But it's super NYSE, and it worked. And and you can do all of this in just room yet, bro, remember, everything is still in all the nasty sequences, so don't forget that you can change everything, but you end up with, like, one layer called lower Third. So I hope you like this class. I really like that. I wanted to show you what it's possible in Premiere Pro. So I think I succeeded in that. And the thing I had to ask you is, what kind of classes do you want to see? I already have some other classes, you know, skills share. Definitely check those out, for example. What if you don't know how premier pro works? I have a whole class on the basics off Premiere Pro. You can learn everything inside of Premiere Pro in just two hours with that class. But what kind of other things do you want to see? Let me know. Hero scale share. Or maybe in the PM's on Instagram at Joey Trashes. And then the last thing I wanted to ask you is please leave a review off this class. It's very helpful for me, but also for potential students. So please leave that with you. And then I wish you the best in the future. Keep learning new things and I hope to see you again by