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Issue link: https://digital.macdirectory.com/i/1500862
the foundation of a project. If there’s a budget for it, interviews are transcribed. Then starts the decision making process on how they fit together. The producer and director get to do their part with a text editor (or a red pen on a printout). The video editor has the task of finding the clips and splicing them together in the order desired. But what if the video editor could assemble their rough cut directly from the edited text of the transcription? And what if the transcription process can happen right in the editing software from the ingested files? That utopian fantasy has now become a reality in Premiere Pro. Tag an audio track as dialog and set the speech-to-text translator loose. A text panel opens on the screen where you can cut, copy, and paste until you get the content you want in the order you want it. If you have multiple speakers, Premiere can separate them out (if you give it permission), identifying them as Speaker 1, Speaker 2, etc., which you can globally change to more useful names later. Just like with Premiere’s captioning features, you have search and replace as well as spell checking the text panel. The video clips in the associated timeline happily follow along with your cutting and pasting, giving you the rough cut of the sequence based on the text window. Of course, this all integrates with Premiere’s slick captioning workflow. Accessibility is baked into your project from the start. Colors Everywhere Premiere has been able to mix video codecs on the same timeline for a while now, but editors now face an even bigger challenge: RAW file formats demanding their own LUTs. If you have one crew working with R3D hardware and another with an Arri Alexa, there can be a lot of labor involved in applying the right LUT to the right clip. Premiere now can automatically sense the source and apply the proper corrections for you. It still excels in its ability to match clips and let photographer/videographer/editors work with the lovely Lightroom-like Lumetri interface. Property Management Adobe After Effects’ interface has always been, to put it politely, unique. Of course, it had to be because when it first launched exactly 30 years ago, there was nothing else anything like it available for an affordable desktop machine. For the most part, After Effects artists specialized in the program, moving to Illustrator and Photoshop as needed for graphic elements. But it it still left a lot of editors feeling like a stranger in a strange land. With the latest release, Adobe made one common-sense change to the After Effects interface that will be a game-changer for those who are new to the program or spend most of our time outside the AE world: a properties panel. Long a feature of nearly every other Adobe CS application, there was never a one stop shop for an elements properties in After Effects. Now there is. Right in the top right quadrant where you would expect to see it. This long-needed feature unquestionably reduced the learning curve for the program as well as the frequent frustration