[Trevor Asquerthian]

Actually you need to roll back to v7 to get speech analysis https://helps.adobe.com/premiere-pro/using/speech-analysis.html

[Trevor Asquerthian]

There was a speech analysis function in PP/Prelude that was removed a few versions ago. From memory the auto transcription bit got pulled but wasn’t very accurate. The ScriptSync style functionality (from transcript) should still be there as shown – https://helpx.adobe.com/premiere-pro/how-to/script-based-editing-premiere-story.html.

While it is no ScriptSync/PhraseFind, I’ve recently been using Subbits from VideoToolshed to create and search subtitles from timecoded transcripts.

The PNG files it creates have the text in metadata that populated the ‘description ‘ field in PP.

Thus I can search for words or phrases in the timeline, or in the png files themselves.

[Trevor Asquerthian]

“
Pre-rendering and then exporting with Use Previews checked is just going to add another generation of compression to the output, further degrading the quality.”

I don’t believe that’s true. By necessity the previews must match the export (typically ProRes or DNX) and thus the rendered parts of the timeline become copies.

It may also help the OP to chase down where his artifacts are coming from (specular highlights hitting a limiter?)

[Trevor Asquerthian]

DNX?

[Trevor Asquerthian]

I’m getting into using Subbits – https://www.videotoolshed.com/product/subbits-subtitler/ – a standalone app for subtitling input & timing that generates open & closed captions for import. I bring them in as xml if PNG files. You can then ‘edit original ‘ on a PNG and it opens the text for editing.

Developer super responsive, now has instigated an import transcript feature that does a good job of parsing timecodes in the transcript, and the breaking down the subs between timecodes. Can then do trimming for accuracy and edit the text within Pp.

Text is also in ‘Description ‘ clip metadata so pseudo ‘phrase find’ possible.

[Trevor Asquerthian]

Saw this recently in the Adobe forum:

NB:
The built-in proxies don’t work properly with time-remapped clips. There’s a way to do it though …

* In the Project panel, select the original clip/s that have been interpreted (time change) and need proxies
* Right-click, Proxies/create proxies; AME will launch, switch to that app immediately and …
* Stop the encoding process in AME before it finishes, and select that clip then right-click “Reset Status”
* Select (all clips, if working a number of them), right-click and select “Interpret footage” setting the timebase to that of the modified originals;
* click the go-ahead arrow to process the proxies; when complete, all but the stopped/reset clip will show in PrPro as “attached” in the PrPro Project panel.
* For the clip that was stopped/reset, right-click on the original media clip/s in PrPro, right-click, “Proxies/Attach Proxies”
* Select the clip, then navigate to where the proxies are stored on disc, select, “attach” and voila.

[Trevor Asquerthian]

You can have as many bins as you like, in as many folders as you like, and open as many as your memory/screen will allow.

You can organise bin arrangement and save as ‘bin layout’ – not transferable between projects though.

Select multiple bins, right click & ‘open selected bins in one window’ to get tabbed selection of bins. This is where you will appreciate brevity in your bin naming
Eg
0 FIN
1 WRK
2 IN
3 GFX
4 MX
5 SFX
9 OLD

etc…

I mostly work in short form turnaround though, done in a day, longer form / shared projects you can’t get away with the same brevity – prefer to get into a checkerboard arrangement of bins (saved as layouts) in that case

[Trevor Asquerthian]

Yes you must set up the sequence as multichannel from the outset, it cannot be modified later. But you can work on a 2-track multichannel sequence and expand it to 4/8/whatever later. Set your template sequences as multichannel and you won’t run into the problem again.

Perfectly normal for two stereo clips to remain stereo through the copy/paste process, and much like Avid, it is much easier to keep clips as stereo as much as possible.

I do lots of broadcast work in both apps & they both have strengths & weaknesses. Avid has no busses, which is painful, and PP is less flexible in audio track configuration (no mixing track types in one clip).

[Trevor Asquerthian]

Use proxy workflow? You can use a seperate programme (Resolve) or have PPro get AME to do it in background. Will still take a while.

Alternatively you can edit with video muted (or 1/4 res) as you make the radio edit then render (having set your previews to something less taxing). Advantage is you only ‘proxy’ a much smaller amount.

In terms of dealing with the material- this is prediting, you need to manage the time you have to make the minidoc out of the source. Listen through and make timecode notes of bits you want to keep (transcription very useful here – try soeedscriber or digital anarchy tool for automated).

[Trevor Asquerthian]

I tried it – resolve conforms to the ‘camera originals’ no problem, so there must be something in the metadata pointing to the location of the source files pre-transcode.

Exporting the AAF from Resolve and bringing it back into Avid resulted in linking to the .new transcodes (as it is an ‘Updated AAF’ rather than a fresh one).

Copying the Resolve timeline to a new timeline and exporting a ‘fresh’ AAF to Avid did give a sequence that was ‘offline’ but with the source files, rather than the transcodes in it.

Not sure how you can ‘batch re-import’ at this point though.

Definitely getting Resolve to ‘Deliver’ your files (either finish in Resolve and export a flattened file or export AAF with transcoded files and finish in Avid) is your best option at this stage I reckon.