When it was originally implemented 6 years ago, the Speech to Text feature was based on state of the art technology that we anticipated would improve at a faster rate than it did. Today, after many years of work, we believe, and users confirm, that the Speech to Text implementation does not provide the experience expected by Premiere Pro users. Based on this, and feedback from customers, we have decided to remove the feature from the next update to Premiere Pro, Prelude and AME in order to focus our resources on other features.
The metadata generated by Speech to Text in existing projects will remain(it is embedded) and will persist moving forward to future versions and will be usable and accessible. Though the “content (speech) analysis” feature to create new speech analysis text will no longer be available in new versions, you will be able to view the text for any clips that have previously been analyzed and had speech text generated in previous versions (8.1 and earlier).
If you still need to use the feature, you can install CC 2013 Release (or earlier) and run a Speech to Text analysis on your media before bringing it into the current version of Premiere Pro CC. All metadata created by Speech to Text analysis will remain associated to your media, will be usable and accessible.
If you rely on this feature, make sure to read the release notes before you update so you can prepare for the workaround. Stay tuned for more information on the upcoming updates to Premiere Pro CC, Prelude CC and Adobe Media Encoder CC and detailed documentation on the work around options.
UltraHD is here to stay as more and more consumers demand content that makes them feel like they are part of an experience. Some analysts think that by the end of 2018, 10% of American households will have 4K capable TVs and by the end of 2024, that number could reach 50%. That means that it’s up to us, as content creators, to start getting comfortable with editing in 4K, 5K—or even 6K—to create Ultra HD content to meet this increasing demand.
The tools we need to shoot, edit and distribute this content are more important than ever. And, because it is not uncommon for a project that just took a few days of shooting to result into 1 to 2 terabytes of hard drive space, these big files need powerful software–not to mention bigger hard drives–that can edit the footage without choking.
Epic freesking and snowboarding tour improves video workflow and productivity with Adobe Creative Cloud
The Swatch Freeride World Tour by The North Face (FWT) is the top big mountain freeskiing and snowboarding tour in the world. FWT doesn’t deal with artificial jumps and groomed slopes. Athletes use the entire slope, including overhangs and cliff-faces, choosing their own path down the mountain while demonstrating control and technique through fluid movements and jumps. The mountains don’t just up the action for the athletes; they also challenge the event photographers and cinematographers. David Arnaud, the producer who has been in charge of the television and video production on FWT since 2009, along with Editor Aurelie Monod and a crew of up to 35 people, work in extremely challenging conditions to bring the excitement of FWT to viewers.
Post-production engineer combines hardware and software to bring VFX closer to editorial
Jeff Brue founded Open Drives four years ago to design storage solutions for the media and entertainment industry. Working with top filmmakers in Hollywood provided a great test base and enabled the company to push its storage technology to new heights. Having previously worked with David Fincher on House of Cards, Brue was tapped as the post-production engineer for Gone Girl, where he collaborated with a talented team to create a next-generation editorial platform using Adobe Creative Cloud.
Post-production supervisor pushes quality and guides integration using Adobe Creative Cloud
In the past decade, Peter Mavromates has worked on more than a dozen feature films, as well as a few TV series, generally serving as post-production supervisor. One thing that many of his projects have in common is the director: David Fincher. Mavromates knows that working with Fincher means the standards will be high, but he likes it that way. For Gone Girl, the main challenge was implementing a completely new post-production pipeline that included fast machines and Adobe Creative Cloud video applications.