Best Practices: Faster graphics workflows
- Adobe Premiere Pro User Guide
- Beta releases
- Getting started
- Hardware and operating system requirements
- Creating projects
- Workspaces and workflows
- Capturing and importing
- Importing from Avid or Final Cut
- Supported file formats
- Digitizing analog video
- Working with timecode
- Edit video
- Create and change sequences
- Change sequence settings
- Add clips to sequences
- Rearrange clips in a sequence
- Find, select, and group clips in a sequence
- Edit from sequences loaded into the Source Monitor
- Simplify sequences
- Rendering and previewing sequences
- Working with markers
- Source patching and track targeting
- Scene edit detection
- Overview of audio in Premiere Pro
- Audio Track Mixer
- Adjusting volume levels
- Edit, repair, and improve audio using Essential Sound panel
- Automatically duck audio
- Remix audio
- Monitor clip volume and pan using Audio Clip Mixer
- Audio balancing and panning
- Advanced Audio - Submixes, downmixing, and routing
- Audio effects and transitions
- Working with audio transitions
- Apply effects to audio
- Measure audio using the Loudness Radar effect
- Recording audio mixes
- Editing audio in the timeline
- Audio channel mapping in Premiere Pro
- Use Adobe Stock audio in Premiere Pro
- Overview of audio in Premiere Pro
- Advanced editing
- Best Practices
- Video Effects and Transitions
- Overview of video effects and transitions
- Titles, Graphics, and Captions
- Overview of the Essential Graphics panel
- Create a shape
- Draw with the Pen tool
- Align and distribute objects
- Change the appearance of text and shapes
- Apply gradients
- Add Responsive Design features to your graphics
- Install and use Motion Graphics templates
- Replace images or videos in Motion Graphics templates
- Use data-driven Motion Graphics templates
- Best Practices: Faster graphics workflows
- Retiring the Legacy Titler in Premiere Pro | FAQ
- Upgrade Legacy titles to Source Graphics
- Animation and Keyframing
- Color Correction and Grading
- Overview: Color workflows in Premiere Pro
- Auto Color
- Get creative with color using Lumetri looks
- Adjust color using RGB and Hue Saturation Curves
- Correct and match colors between shots
- Using HSL Secondary controls in the Lumetri Color panel
- Create vignettes
- Looks and LUTs
- Lumetri scopes
- Display Color Management
- HDR for broadcasters
- Enable DirectX HDR support
- Exporting media
- Export video
- Export Preset Manager
- Workflow and overview for exporting
- Quick export
- Exporting for the Web and mobile devices
- Export a still image
- Exporting projects for other applications
- Exporting OMF files for Pro Tools
- Export to Panasonic P2 format
- Export settings
- Best Practices: Export faster
- Collaboration: Frame.io, Productions, and Team Projects
- Collaboration in Premiere Pro
- Team Projects
- Working with other Adobe applications
- Organizing and Managing Assets
- Working in the Project panel
- Organize assets in the Project panel
- Playing assets
- Search assets
- Creative Cloud Libraries
- Sync Settings in Premiere Pro
- Consolidate, transcode, and archive projects
- Managing metadata
- Best Practices
- Working in the Project panel
- Improving Performance and Troubleshooting
- Set preferences
- Reset and restore preferences
- Working with Proxies
- Check if your system is compatible with Premiere Pro
- Premiere Pro for Apple silicon
- Eliminate flicker
- Interlacing and field order
- Smart rendering
- Control surface support
- Best Practices: Working with native formats
- Knowledge Base
- Set preferences
- Monitoring Assets and Offline Media
Every channel, show, series, or film has its own visual styling and graphics. With the explosion of video, it has never mattered more that content has a consistent appearance.
Efficient graphics workflows can have a massive impact on post-production timescales. Broadcasters and large post-production facilities have established workflows to connect graphics and editorial teams. On the other end of the content creation spectrum, filmmakers may be responsible for both developing assets and incorporating them into the finished project.
Motion Graphics templates accelerate the graphics workflow from production in the art department through implementation in editorial, streamlining iteration and quality control.
Three ways to work with graphics
Incidentally, the following three examples provide an interesting history of how digital production workflows have evolved.
Copy and paste are the most basic ways that digital workflows save time. For video, you can simply copy a design element on the Timeline, paste it into a new location and then modify the new instance. This is much faster than creating each graphic from scratch, but it is still manual work and doesn’t scale as efficiently as new techniques.
Dynamic Link is much more powerful, allowing you to place a “live” After Effects composition in the Premiere Pro Timeline. Editors use this both for animated graphics and visual effects shots. Dynamic Link allows you to finesse those shots in the context of your edit. You don’t have to bake anything. If performance suffers because you have numerous complex compositions, you can Render and Replace in Premiere Pro, which give you better editing performance while maintaining instant access to the original composition in After Effects.
Motion Graphics templates (.mogrts) allow you to extend this process exponentially. Think of mogrts as capsules containing both graphic design and animation, allowing editors to customize content within defined parameters. This enables fast editorial workflows while maintaining brand consistency. Whether you have expertise in After Effects, Motion Graphics templates allow you to “divide and conquer” so that in After Effects you can focus solely on design – and lock that down before moving the artwork on to editorial. In Premiere Pro, you can focus entirely on implementation.
Motion Graphics templates are saved in your Creative Cloud libraries, so they are easy to organize and access for different projects. Sharing CC Libraries extends all of these benefits for teams, ensuring efficiency and quality control for whole teams.
This Best Practice guide includes assets you can download, including Motion Graphics templates and the original After Effect project they were created from. The downloads include a PDF explaining how they were built. If you are interested, or experienced, in After Effects, the PDF helps you explore the design and authoring process.
How Motion Graphics templates save time
A study commissioned by Adobe Stock showed that Motion Graphics templates speed up graphics workflows by 350% but the real savings can be greater, depending on how you use them.
Working with these Motion Graphics templates in Premiere Pro
We have created example projects for this Best Practices guide which you can download here.
There are four Motion Graphics templates (.mogrts) in the folder and one CSV file.
- Sports Title.MOGRT - This example MOGRT has changeable text and a slider to change the Color Scheme.
- Sports End Credits.MOGRT - This example MOGRT has changeable text and a slider to change the Color Scheme.
- Sports Lower Third.MOGRT - This example MOGRT has changeable text, color (as above), but also has a slider to change the sport icon in the lower left corner.
- Sports Lower Third (CSV).MOGRT - This example MOGRT needs a CSV (Comma Separated Values) file, which is included. The slider permits picking which combination of athlete/sport/icon/color.
To install these MOGRTS, drag them from your downloads folder to the Essential Graphics Panel in Premiere Pro.
Working with the original composition in After Effects
The Adobe After Effects project has the necessary comps and other assets to build the above MOGRTS.
The inclusion of the AE project was specifically to give designers examples of how to build MOGRTS. Feel free to disassemble and use (where applicable) the expressions in your own projects.
There is a PDF called MOGRT Documentation that goes in detail to how each were constructed.
For more detailed information, download Making Mogrts by Jarle Leirpoll.
Tips for authoring Motion Graphics templates
To avoid human errors and maintain brand fidelity across a whole production, MOGRTs should be restricted, so one can’t possibly use the wrong fonts, colors or logos, and can’t place the graphic elements in the wrong position, mess up the animation, and so forth.
MOGRTs with too many sliders, checkboxes, and other options are slower to use and render more slowly. Consider splitting complex MOGRTs into multiple MOGRTs for ease of use and faster render times.
If you share a MOGRT with ten users by file sharing or email, you can’t know for certain that all of them install it correctly. When you send a new version because the old one had an error, you have no way to know if all ten editors update their MOGRTs. Some may continue using the old one.
When you use Libraries to spread the MOGRTs, you have full control over who gets access, and everyone always has the correct version of all the MOGRTs. You can easily invite new members and exclude freelancers that should no longer have access.
Stressed editors shouldn’t spend time looking for their MOGRTs. Make sure that hey have descriptive names and add keywords so they’re easily searchable in the Essential Graphics panel in Premiere Pro.
MOGRTs where the editor manually adds the data, like names, titles, numbers, are great when you don’t have the data. But if the data exists, maybe in a text editor or a spreadsheet, the editor shouldn’t have to copy/paste or type this. The person making the list could as easily do it in a spreadsheet and give the editor access to this file (.CSV or .TSV). This way, there’s no chance the editor pastes the wrong title for a certain name, or mess up the numbers for each entry. They drop in the spreadsheet file, drag a slider, and all the info magically updates in the timeline. The editor can still update and change the data. Using a CSV file does not limit the flexibility of the MOGRT.
Over time, the MOGRT creators will have many existing projects that are similar in functionality to the one they’re working on. It’s a large time-saver to steal designs from the older projects. You may only have to make minor changes to customize a design for the current project. This is always faster than starting from scratch.
MOGRTs are, in essence, After Effects compositions, and the more complex the comp is, the slower it renders. Keeping down the layer count and being restrictive with expressions help.
If you use lots of layers – especially vector-based layers, the MOGRT renders slowly. If the animation is not changeable in the MOGRT, you can pre-render the layers and replace them with the video clip. This improves performance in Premiere Pro.
If the MOGRTs cause dropped frames in Premiere Pro, use Render & Replace (use a format with alpha) as you edit, to increase playback performance, and speed up the final export. Render & Replace is better than just rendering the timeline. If you move the clips after rendering the timeline, you lose the render files. When you use Render & Replace, with alpha, you can freely move the clip around without losing renders. If you have to make changes, choose Restore Unrendered, make changes, and choose Render & Replace again.
Learn more about Motion Graphics templates
About these Best Practice guides
Adobe helps you get to the finish line faster. See our Best Practice guides for video editing and production.
- Jarle Leirpoll is a filmmaker, editor, and Master trainer based in Norway. He's also the author of The Cool Stuff in Premiere Pro.
- Ian Robson is a broadcast motion designer, and regular Adobe MAX trainer. Ian is based in Silverthorne, Colorado
- Jeff Greenberg is a consultant, master trainer, and author of Adobe Premiere Pro Studio Techniques
- Maxim Jago is a Paris-based filmmaker, master trainer, and author of Premiere Pro Classroom in a Book.
- Alex Macleod is a production professional, broadcasting consultant, and owner of Media City Training in the UK.
- Joe Newcombe is head of sales and marketing at Support Partners, a system integrator for broadcasters and post-production facilities. He’s based in the UK.