Join the crowd and ask Adobe to fix this by filing a Feature Request. What we need is a third option that keeps the layout and sets the anchor point of each layer in its center without moving the layer. We could use a new feature because with the Document Size setting, the anchor point is set in the middle of the Sequence, making it hard to move, rotate and scale layers. This mangled thing is probably never what you want, so avoid it like the plague. In Premiere, the anchor point is correctly set to the center of each layer just as in After Effects, but in addition, all the layers are also moved to the center, destroying the layout of the Photoshop file.įigure 12: File imported as sequence, with the Layer Size setting. This last option was probably meant to work like in After Effects, and decide where the anchor point for each layer is set. It also gives you an additional Footage Dimensions choice between Document Size and Layer Size.
This option gives you a sequence with all the chosen layers stacked on top of each other. This will give you a choice to what layers to include, like the Merged Layers option, and import all the chosen layers as separate clips in Premiere. This is similar to the first choice, but you can choose what layers to include, no matter what visibility settings they had in Photoshop. Layers that were turned off in Photoshop will not be visible. This will flatten the image and treat it like any flat image, like a PNG or JPG file. When you import Photoshop files with more than one layer, Premiere wants to know what to do with those layers, and will throw a dialog box at you. Just change the keyboard shortcuts in Premiere to avoid conflicts. Instead, your screen colors will be inverted.
Note that the default keyboard shortcut on Windows will not work if you use the Windows Magnifier tool to zoom in on the tiny icons and type on your high-res laptop screen. Then drag them to a bin, or use the keyboard shortcut Ctrl+Alt+I (Cmd+Opt+I) to import them. To import the files, point the Media Browser to the folder they live in, and select the files oy want to import. As you’ve already seen, the Media Browser gives you a nice preview of all supported fie formats, including the vector based formats, which can sometimes be problematic to preview in your OS. I recommend that you skip the File > Import routine and use the Media Brower to import your still images instead.
(NOTE: We’ve put together a complete Premiere Pro editing course with 40+ video tutorials if you’d like to learn more) Importing Stills Now that you’ve made sure your images are optimized for editing in Premiere it’s time to import them. In Bridge, select the images you want to scale, and click Tools > Photoshop > Image Processor.įigure 09: Photoshop Droplets can run any Photoshop Action you want, including resizing and changing color space I like to use Adobe Bridge for this, since it’s got great tools for browsing, renaming and adding metadata to images. If your sequence is 1920px wide, you can scale large DSLR photos down to 3840px wide, and still have lots of room for zooming and pan-n-scan in the image. To reduce the strain on the CPU and GPU, you can batch convert the images to about 200% of the sequence Frame Size before you import them. So, importing a huge amount of very large images is not a good idea. Premiere also has options for Scale to Frame Size and Fit to Frame Size.īut Premiere Pro uses more RAM and GPU memory the more images you import-and the larger they are. Auto-Scale Your Stills before ImportĮspecially if you have a decent Graphics Card (GPU), playing back still image montages, scaling and zooming inside still images, etc. You can also change the duration of stills from the bin and in a sequence.
Figure 06: Still Image Default Duration Preference