speech to text premiere pro 2023

Try Speech to Text — available now in Adobe Premiere Pro.

Automatically generate a transcript and add captions to your videos to improve accessibility and boost engagement with Speech to Text. Download the latest version of Premiere Pro today and enjoy access to the powerful feature set, free with your Creative Cloud membership.

Explore the power of Speech to Text.

Experience cutting-edge transcription.

Speech to Text transcribes spoken dialog to text with industry leading accuracy in an instant.

Enjoy automatic caption creation.

Auto Captions, powered by Adobe Sensei, offers a seamless experience from audio transcription to caption or subtitle creation.

Review and edit to perfect your work.

Editing your transcript or captions is as easy as playing back your video. Search, merge, or split text to ensure a perfect read.

Create in more than a dozen languages.

Speech to Text is powered for English, Spanish, Japanese, Korean, French, German, Chinese, Hindi, and more.

A special thank you to everyone who participated in the early access program.

NAB 2023: Introducing Text-Based Editing in Premiere Pro, Properties panel in After Effects, and much more

NAB is always a highlight, but we’ve never been more excited about what we’re bringing to the show. We’re introducing Text-Based Editing in Adobe Premiere Pro , an entirely new way to edit that makes creating a rough cut as simple as copying and pasting text. We’ve worked hard to make Premiere Pro today the fastest and most stable version we have ever released, and we’ve added dozens of improvements that editors have been asking for, like automatic tone mapping, background auto save, enhanced collaboration tools, and more. This year marks the 30th anniversary of Adobe After Effects and the new Properties panel means working on compositions is way faster — and makes the application more welcoming for the next generation of motion designers. Here’s what we’ll be showing during NAB at the Adobe booth N2438.

New in Premiere Pro

Text-Based Editing transforms rough cut workflows and opens up new ways of working with video. Powered by Adobe Sensei , Text-Based Editing in Premiere Pro uses the latest AI to automatically transcribe your source media. Instead of watching hours of footage just to find the right sound bites, now you can skim through transcripts, search for keywords, and add them to the Timeline to start your rough cut. Premiere Pro generates a transcript for your sequence as you build it. So, once you’ve got a few clips on the timeline, you can copy and paste phrases in the sequence transcript and watch the edits in the Timeline automatically change to match them. Text-Based Editing is like having a “paper cut” of your transcript, except it’s built into your NLE. And, when your edit is complete, Text-Based Editing gives you a ready-made transcript that can be used to quickly generate captions.

Automatic tone mapping makes it easy to work with different media and color spaces in the same timeline, without requiring LUTs or custom color settings. Today’s cameras record an amazing amount of color and detail, so usage of log and other HDR formats is growing. Automatic tone mapping converts the wider color gamut of HDR files, like iPhone HLG, and popular log formats, like Sony S-Log, so that they display correctly in standard sequences. Unlike LUTs, tone mapping is non-destructive, and you can apply color grading across your media, without the risk of artifacts or clipping highlights.

Beyond the new features, we’re doubling down on delivering improvements you’ve asked for. Not only is Premiere Pro faster and more reliable, but we’ve also added background auto save , which saves backups as you work, without interrupting your flow. There’s new format support and GPU acceleration for ARRI, RED, and more — and with new launch reset options, it’s easy to perform routine maintenance tasks, like clearing your media cache.

Other improvements shave valuable seconds off tasks, like dragging to select track targets, more accurate masking, faster motion graphics templates, and the ability to bulk edit titles in the Timeline. New language support for Speech to Text brings Premiere Pro’s captioning toolset to Danish, Dutch, Norwegian, and Swedish speakers, for a total of 18 languages around the world. Updates for collaborative editing make it easy to work together with other editors in the same project. A complete version history tracks each change in the Team Project and Sequence Locking ensures no one else can make edits to something you’re working on.

New in After Effects

Modeled on similar panels in Adobe Illustrator and Adobe Photoshop , the Properties panel in After Effects makes motion design faster. Instead of drilling down into layers to make adjustments, controls are presented to you contextually, right beside the composition window. It’s easier to try things out and iterate on designs. The Properties panel also works with Essential Properties, saving you even more time when you need to create multiple versions of the same type of graphic. Whether you’re a seasoned pro or just starting out in motion design, the Properties panel shortens the distance between ideas and execution in After Effects.

After Effects now offers native support for ACES and OpenColorIO . ACES is a color interchange standard with an extremely wide color gamut, for more dynamic range and richer image detail. And if you’re working with other artists or facilities, ACES and OpenColorIO color management make it easy to ensure consistent color when handing off assets.

We’ve been listening to our users and focusing on changes that help you work faster in After Effects. Selectable Track Mattes was a highly requested feature that saves time by letting you reuse the same matte for multiple layers. And now new keyboard shortcuts make your track mattes workflow even easier. We’ve changed Colorama so that it defaults to the native After Effects color picker, a feature request that saves clicks every time you use it. Last fall we added 50 animation presets, which After Effects artists loved. This year we will add over 50 more presets to help you create animations without having to start from scratch.

Along with improving your workflows, we’re helping you keep After Effects running in peak form. You don’t have to be an IT expert to use the new diagnostic tools for things like resetting your preferences or troubleshooting plugins.

Availability

Many of these features, such as Automatic Tone Mapping in Premiere Pro and ACES/OCIO color management in After Effects, have been released in recent updates. Other features, including Text-Based Editing and background auto save in Premiere Pro and the Properties panel in After Effects are currently in public Beta and will be released in May.

See Adobe at NAB

Visit Adobe during NAB at booth N2438 in the North Hall at the Las Vegas Convention Center, April 16th-19th We’ll be posting throughout the show so that you can take part, wherever you are in the world

https://main--blog--adobe.hlx.page/en/publish/2023/02/10/adobe-wins-advanced-imaging-society-century-award

https://main--blog--adobe.hlx.page/en/publish/2023/03/13/adobe-video-3d-tech-center-stage-2023-oscars

https://blog.adobe.com/en/publish/2023/04/05/join-adobe-at-nab-2023

PREMIERE PRO FEATURES

Transcribe video to text.

Instantly generate subtitles and captions or create a transcript with automatic Speech to Text features in Premiere Pro.

Collaborate and edit video with your team, anywhere.

Premiere Pro is packed with collaboration features that help creative teams work better together and get to final faster.

Create customizable subtitles and captions with voice recognition.

Use voice-to-text technology powered by machine learning to transcribe audio tracks in video files in real time. Add captions, improve accessibility, boost engagement, and get your story out to a wider audience.

Generate transcripts in a snap.

Transcribe video to text faster than ever using artificial intelligence and accurately create captions, subtitles, and transcripts in 18 languages.

Make a rough cut by copying and pasting text.

Use your transcript to assemble a rough cut with AI-powered Text-Based Editing. Cut and paste blocks of text to move clips around. Search for specific keywords, automatically detect and delete pauses and gaps, and put your clips in sequence faster than ever.

Stylize your captions.

Format your captions and subtitles to fit your style, or convert your captions to graphics. Adjust font, placement, colors, and more. Then save your settings and use them as caption templates for other projects.

Questions? We have answers.

What languages can premiere pro transcribe.

Speech to Text is available for: English, English (UK), Simplified Chinese (Mandarin), Traditional Chinese (Mandarin), Traditional Cantonese, Spanish, German, French, Japanese, Portuguese, Korean, Italian, Russian, Hindi, Dutch, Norwegian, Swedish, and Danish.

Does it cost extra to use Speech to Text?

No, Speech to Text is included in your Premiere Pro subscription. There is currently no set limit for fair and reasonable use by individual subscribers, for their own projects.

Do I need an internet connection to use Speech to Text?

With Premiere Pro 22.2 (and later) you can use Speech to Text offline. Premiere Pro includes an English language pack for transcriptions. Additional language packs can be downloaded individually. Once a language pack is installed, you can create transcriptions of your videos without an internet connection.

Does Speech to Text use artificial intelligence?

Yes. Speech to Text leverages AI technology to generate transcripts and position captions on the timeline so that they match the pacing and cadence of the spoken words.

What broadcast standard captioning formats are supported?

Australian OP-47, CEA-608, CEA-708, EBU Subtitle, and Teletext are supported. Export SRT, SCC, MCC, STL, and DFXMP files or embed captions into videos upon export.

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• Premiere Pro

AI Assistance: Boost Engagement for Free with Premiere Pro’s Speech-to-Text

• Posted by Laurence Grayson
• September 20, 2021
• Updated December 17, 2023

If you watched the launch videos at Adobe MAX 2020 you probably noticed a few trends forming during the product demos.

Mobile and social were (and always will be) focal points, but Artificial Intelligence (AI) and Machine Learning (ML)—or Sensei as Adobe has chosen to brand them—took the stage in a number of surprising ways.

As always, a lot of the airtime was given over to Photoshop, which added a bundle of Sensei-driven tools called Neural Filters that include image upscaling, sky replacement, and portrait aging. But while turning the clock forward on your face is fun, and swapping that blown-out skyline with a stock sunset makes a landscape prettier, it’s hard to see much commercial value in these tools. For that, you should be looking at the least talked-about AI feature in Premiere Pro—Speech-to-Text.

Let’s take a look at why you might want it, how you might use it, and whether or not this machine learning tool can augment your productivity .

We don’t talk about that

Let’s take a moment to recall that this is not Adobe’s first attempt at releasing a tool for converting recorded audio into editable text. Speech Analysis was added to Premiere Pro back in 2013. It was…not great.

When I tested it back then, the best description for the results it produced would be word salad .

But to be fair, the same was also true of other software at that time. Google’s auto-transcription for YouTube videos was just as unreliable. As one commenter put it “in my experience it does such a bad job that the time it’d take me to correct it is considerably more than the time it’d take me to transcribe it myself.”

And that, in a nutshell, was the problem. So it wasn’t really surprising that Adobe pulled Speech Analysis from public release in 2014, and stayed silent on the matter until the fabulous Jason Levine brought it back into the spotlight in 2020.

Different strokes

The motivation for automatically generating captions is likely to depend on your business perspective.

For example, companies like Google and Facebook want it because it makes video indexable and searchable, allowing us to find content inside videos (and for them to sell ad slots based on the context).

But for video producers and distributors, the need for captions is probably coming from a different place .

Accessibility

The laws around accessibility are different across the world, but the closest we have to a global standard are the Web Content Accessibility Guidelines (WCAG) published by the World Wide Web Consortium (W3C). It’s worth noting that section 7.3 of the current WCAG indicates that media without captions is deemed a critical error that automatically fails the rating process.

In the US, the FCC has already made it a legal requirement that all TV content broadcast in America must be closed captioned, and any subsequent streaming of this content falls under the same rules .

And while it’s true that content that is uniquely broadcast over the Internet falls outside of these regulations, legislation including the Americans with Disabilities Act (ADA) has already been successfully used as the basis for lawsuits against streaming platforms like Netflix and Hulu.

So these days it’s probably safer to assume that captions are required by law in the country/state where you operate than to find out the hard way.

Social Media

While meeting accessibility requirements is an excellent justification for captioning, it’s also beneficial to audiences who don’t suffer from hearing loss, especially when it comes to video in social media.

Muted autoplay is quickly becoming the norm for video in scrolling social feeds, and it’s estimated that as much as 85 percent of video views are taking place with the sound turned off. So if you want to improve the signal-to-noise ratio of your social media content, captions are now an essential part of the process.

It’s estimated that as much as 85 percent of video views are taking place with the sound turned off.

Global reach

And for those of us working with global markets, it’s long been known that captions are the easiest way to repurpose your film and video content for audiences who speak a different language. (Certainly a lot less involved than dubbing and ADR .)

While some translation services can work directly from the original media, offering a caption file in the original language can help to speed the process up.

There are, of course, other reasons why captions are quickly becoming an essential component of media production, and it’s not just because of the memes.

pic.twitter.com/qF5PZ3iABp — no context the good place (@nocontexttgp) April 26, 2021

But while the needs might change from business to business, the fundamental benefit is the same—captioning your media will help you reach a larger audience. And that’s good for everyone .

Let’s start the show

To get started, open the project to be captioned in Premiere Pro and have the target sequence active in the Timeline view.

Depending on how you’ve structured your edit, a small amount of preparation might be beneficial before moving forward.

For example, if you’ve laid out multiple vocals on separate tracks, or if you have a mix of vocals and SFX/music on the same track, you should spend some time tagging vocal clips as Dialogue using the Essential Sound Panel (you can also choose to mute any unwanted tracks on the Timeline if that’s easier.) This will let Premiere Pro know which assets to include in the exported audio that it analyzes later on.

Also, if you don’t want to create captions for the entire sequence, you should set sequence In and Out points by moving the playhead to the required positions and hitting the I and O keys respectively. (Note that the Work Area Bar isn’t used for this feature.)

When you’re ready, open the Text window (Window->Text) and hit the Transcribe sequence button.

Your options at this point are straightforward. You can choose to export a mixdown of just the clips you’ve tagged as Dialogue, you can pick Mix to create a mixdown of the entire sequence, or you can select a specific track to export from the drop-down menu.

At present, there’s no way to select multiple audio tracks for the mixdown, which could be irksome if you have multiple speakers on separate tracks. For now, just mute the tracks you don’t want to include and choose the Mix option.

Speech-to-Text supports an impressive selection of languages that covers most of the world’s population. Notable exceptions are Arabic, Bengali, and Indonesian, but it’s interesting to see both US and UK variants of English. (As a UK ex-pat living in Australia, the latter scores bonus points with me.) However, I can only comment on the effectiveness of the tool in English.

It’s interesting to note that Sensei’s ability to identify different speakers—which was the default behavior in the beta—now requires consent, and isn’t available in Illinois, presumably due to privacy concerns.

The transcription process is relatively fast, with a four-minute test project featuring dual speakers taking around two minutes, and an hour-long sequence taking 24min, which indicates a turnaround time of about half the runtime.

But Speech-to-Text is (mostly) cloud-based and it’s impossible to predict what speeds might be like if the entire Adobe Creative Cloud membership suddenly starts chewing up Sensei’s compute cycles at the same time. That said, even if job queuing becomes necessary, you and your workstation will at least be free to make that coffee or catch up with other tasks in the meantime.

Get back to work

When Sensei is finished with your audio, the Transcript tab of the Text panel will be populated with the results.

And while your mileage may vary, I have to say that I was impressed with the accuracy of the tests I ran. The beta version that I first tested was good—the public version is even better.

By opting into speaker profiling, Sensei recognizes multiple speakers, identifying them as Speaker 1, Speaker 2, etc. If you opt-out, then it will simply list Unknown next to the paragraph segments.

Either way, you can name them by clicking on the ellipsis in the left column of the Transcript tab and selecting Edit Speakers.

This tool can let you manually fix instances where Sensei may have incorrectly identified speakers with similar-sounding voices, and it’s worth taking the time to do this now before moving onto the caption creation stage.

The same is true for transcript cleanup. Unless you’ve been extremely fortunate with your Speech-to-Text analysis, there will be errors in your transcript. These are more likely in recordings with a more conversational delivery, background noise, non-dictionary words like company names, or multiple speakers talking across each other.

Unless you’ve been extremely fortunate with your Speech-to-Text analysis, there will be errors in your transcript.

And while you’ll be able to edit the text after it’s converted to captions, you should correct the transcript before you get to the next step. This is because Premiere Pro treats the transcript and subsequent captions as separate data sources—so making changes to one will have no effect on the other.

So take the time to get your transcript right as it will be the source from which all of your captions will be created.

Getting around

Adobe has implemented some extremely useful features to help you navigate the video and transcript at the same time.

To begin with, Premiere Pro already has a Captions workspace that divides your screen into Text, Essential Graphics , Timeline, Project Bins, and Program. Though you might want to tweak things to suit your preference. For me, it looks like this…

Once you’re set up, finding your way around is straightforward.

For example, moving the playhead to a new position in the timeline will automatically cue the transcript to the corresponding location, to the extent that the word being spoken at that point beneath the playhead is highlighted blue in the Transcript panel. Any text that lies ahead of the playhead position is colored gray, which is a helpful addition to the UX.

Similarly, playing or scrubbing the timeline will update the transcript view to keep pace with the playhead.

And it also works in reverse, so selecting any word in the Transcript panel will automatically move the playhead and video preview to the corresponding time in the sequence. It can be a little slow to respond at times—possibly because it’s talking to Adobe’s servers—but it’s a highly effective approach, nonetheless.

There’s also a Search box in the top corner, which lets you jump to words and phrases in the transcript, as well as a Replace function should you need to fix repeated errors.

Best practice

At this stage, you’ll probably do most of your navigation in the Transcript panel; selecting a word, hitting Space to start playback, comparing what you’re hearing with what you’re reading, then stopping and double-clicking on the text to make any changes.

Based on my experience, your changes will most likely center on punctuation and sentence structure, rather than fixing incorrect words. And despite Sensei’s best efforts, you’ll still need to put in the work to get things to a caption-ready state.

And this is to be expected. Natural language processing is incredibly hard. After you factor in accents, dialect, mannerisms, tone, and emphasis, even human beings struggle with it. So expecting perfect results from a machine is unrealistic. (I’d strongly recommend you turn YouTube’s automatic captions on for the following video example.)

(This is a great alternative – https://youtu.be/Gib916jJW1o )

So approach this stage with an open mind, a fresh cup of coffee, and a comfy chair. And if you need guidance on the best practices for caption creation, you might want to read through the BBC’s subtitle guidelines , first.

Also, remember that the transcript data is saved in the Premiere Pro project file, so you can come back to it later if you need to. You can also export the transcript as a separate, but proprietary .prtranscript file, though it’s not clear what the benefit of this approach might be.

When you’re confident that your transcript is as clean as you can make it, then go ahead and hit the Create captions button.

You’ll be given a bunch of options here, including the ability to apply Styles (assuming that you’ve previously created some). You can define the maximum character length and minimum duration of your captions, set them to Double or Single line, and even the number of frames you want to insert between them.

If you’re not sure what you want at this stage, I’d suggest that you pick the “Subtitle” format from the drop-down, make sure that the Create from sequence transcript radio button is selected, and leave the rest at their default values.

I’m not going to spend a great deal of time discussing the different caption formats that Speech-to-Text offers. Partly because I’m not an expert in the differences, and you’ll know your project requirements better than I do. But mostly because it doesn’t matter that much .

This is because Premiere Pro’s Speech-to-Text keeps your transcript data intact and adds your captions to a separate track in the sequence timeline. (This is a huge improvement over Premiere Pro’s first attempt at captions, which incorporated the caption track into the video layer.)

Thanks to this, you can generate captions in as many different formats as you need. Even retroactively, should your project get sold into a territory that uses a different standard. There doesn’t appear to be a limit on how many caption tracks you can add, and the format used for each caption track is clearly labeled.

If things start to get cluttered, you can toggle track visibility using the CC button in the timeline view.

If you’re working with foreign language captions, this aspect of the UI could be extremely useful, as it has the potential to let you build caption layers for as many languages as you need in the same sequence timeline . There are limitations to this approach, which I’ll get to later, but speaking from personal experience, I welcome this wholeheartedly.

So go ahead and hit that Create button, and watch as your transcript is chunked up and laid out in the format of your choice.

Another round

If you have any experience in caption creation, you’ll know that good captions require a surprising amount of finesse.

It’s not as simple as breaking the dialogue into sentences and showing them on-screen for as long as it takes the speaker to say them.

Punctuation is incredibly important, and line breaks can mean the difference between comprehension and confusion.

You have to deconstruct what’s spoken into short, intelligible sections that can be read without drawing too much attention away from the visuals. Punctuation is incredibly important, and line breaks can mean the difference between comprehension and confusion. And to be fair, Speech-to-Text seems to do a reasonable job of this.

However, to comply with captioning standards like the FCC’s, you need to convey noise and music to the fullest extent possible . And while it’s unreasonable to expect Sensei to start labeling noises and music (for now, at least), your captioning software should allow you to incorporate information beyond dialogue.

One at a time, please

Unfortunately, Speech-to-Text is limited to a single track with no scope for overlapping elements.

This means that there’s no way to easily incorporate simultaneous speakers or add sound or music identifiers over dialogue. (I tried adding these to a second caption track, but you can only enable visibility for one track at a time.)

So if FCC compliance is needed for your project, then you might need to hand this job off to a different caption solution. But even then, you could still use Speech-to-Text to get you most of the way, then export the results to a text or SRT (SubRip) file for import into a different tool.

Split the difference

Once you get down to the business of editing the captions generated by Speech-to-Text, Premiere Pro’s workflow makes a lot of sense.

Sentences are broken into short, single-line segments that will fit on even the smallest of screens without line-wrapping. And you can choose to merge or split these further if they don’t quite work in their current state.

Adding new captions is also possible, assuming that there’s space to do so (the default for the inserted caption is three seconds, and you can end up overwriting existing captions if you’re not careful here). 

Captions also behave like any other asset in the timeline. So you can adjust their In and Out points by dragging clip handles, link them to video clips, split them with the Razor tool, or even perform slip, slide, ripple, and roll edits. 

So if you already know your way around the Premiere Pro toolset, your existing skills will stand you in good stead here.

Fixing it in post-post

There is, however, a track editing limitation that’s unique to captions.

While you can select and manipulate multiple video, audio, or image tracks at the same time, only one caption track can be active at any time. If you need to adjust multiple caption tracks in different formats, you’ll have to do it one track at a time.

But this feels like splitting hairs. Given that the captioning process typically takes place long after the edit is locked and approved, the need to make changes across multiple caption formats should be a fringe scenario.

Open or closed?

Premiere Pro offers a wide range of formatting tools for your captions, including the ability to save styles and apply them to future projects.

You can adjust font, color, shadow, outline, and background options, as well as position, text alignment, and usable caption area. And these can be assigned to individual captions, or across the entire caption track.

Closed captioning

But the extent to which you can change the appearance of your captions depends on whether you intend to deploy them as open or closed .

Closed captions are stored as separate files—also known as sidecar files—and can be toggled on and off by the viewer during playback.

Most of the formatting for closed captions is handled by the playback system, so formatting options are limited (and Premiere Pro will only display functions that are supported by your chosen caption format). But, despite the name, closed captions are easier to change after being finalized as they’re usually a simple text or XML file.

Open captioning

In contrast, open captions are “burnt in” to the video, so they’re always visible (regardless of the playback platform or device) and you can format them however you see fit.

It also means that you can create a single version of the captioned video that will play on all video platforms.

But the trade-off here is that your captions can’t be changed without re-rendering and redistributing the entire video. And, if you’re working with multiple languages, you’d have to create entirely new videos for each language instead of a more manageable set of caption tracks.

It’s also worth noting that open captions will resize along with the video, so if your audience is looking at a piece of 16×9 media in portrait view on a mobile device, there’s a chance that your captions might become too small to read.

On this basis, you might think there’d be no compelling reason to opt for open captions on your video content. But if you’re publishing to social media, then you might not want to rely on the automatic captioning tools that are currently your only option on platforms like Instagram or TikTok.

Also, some social platforms only allow you to add captions at the same time as you upload the video, which makes scheduling or auto-posting video content with captions impossible. So open captioning can still be a viable option.

Finishing up

Looking at the current version, it seems as though your export options have been reduced to  EBU N19 or plain text SubRip SRT file—the MacCaption VANC MCC format and Embed in output file option found in the beta are no longer available.

This isn’t as limiting as it sounds, though, as EBU serves most streaming and broadcast services, and SRT covers most online and social video platforms.

What we’re not seeing is the ability to export only the caption track from Premiere Pro’s export tool or Adobe Media Encoder, so you need to render out at least an audio file in order to get an XML caption file.

Given that you can export to .srt and .txt files from the Captions panel, this seems odd, and seems likely to change in the future.

If you want open captions, you can just pick the Burn Captions Into Video option. And of course, if you want to create multiple exports in different formats, you can queue them up in Adobe Media Encoder for batch export. Just make sure that you set the required caption track’s visibility in the timeline first.

What’s missing?

While testing the beta, I noted some areas where Adobe might improve this tool before releasing it to the public and, with one small exception, they’re still “missing.” So here’s my wishlist:

• Adjustable font size in the Transcript and Captions panels. The text size is currently defined by the system settings, and there are times I wanted to dial the font size up to make things easier to read while editing the transcript.
• Script import. If you’re working with scripted material, then Speech-to-Text could, in theory, skip the transcription process and focus on timing, instead. This would allow you to quickly convert what you already have into a caption-ready format. (YouTube already has this.)
• Custom formatting based on speaker. While you can identify the speakers in the transcript, there’s no way to automatically add that data to your captions. And if you’re captioning scene by scene, it might be useful to have custom caption placement for speakers who are always going to be on a particular side of the frame.

But is it worth it?

I can’t say what your experience with Premiere Pro’s Speech-to-Text might be.

Is it one-button automation for all your captioning needs? Of course not. And I believe we’re still a long way from building a system that can handle this complex and infinitely variable task without some kind of human intervention.

But for me, this tool became a standard inclusion in my toolkit before it even left beta.

If pressed, I’d estimate that it’s cut the time it takes to caption content to about a third of what it was before . It’s not the only option available— Otter.ai will export transcripts to the .srt caption format, Digital Anarchy has a Premiere Pro plugin called Transcriptive , and of course, you can pay companies to do the job for you—but all of these have a cost component, while Speech-to-Text is currently free to use.

It all comes back to that comment I included at the beginning of this article—is it easier to use Speech-to-Text than it would be to transcribe it yourself? For me, the answer is a very firm yes. So if you’re looking at finding a better way to add accessibility and greater audience engagement to your video projects, Premiere Pro Speech-to-Text is definitely worth a look.

(And if you’re looking for more content on working with audio in Premiere Pro, check out Premiere Pro Mixing Basics and Premiere Pro Audio Tools .)

Laurence Grayson

After a career spanning [mumble] years and roles that include creative lead, video producer, tech journalist, designer, and envelope stuffer, Laurence is now the managing editor for Frame.io Insider. This has made him enormously happy, but he's British, so it's very hard to tell.

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PR 2023支持一键语音转字幕功能了！剪辑效率瞬间拉满

一门课程搞定C++、数据结构和Linux

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House passes antisemitism bill with broad bipartisan support amid campus arrests

The House passed a bipartisan bill Wednesday to combat antisemitism as pro-Palestinian protests roil colleges across the U.S.

The measure passed 320-91. Twenty-one Republicans and 70 Democrats voted against it.

The bill, titled the Antisemitism Awareness Act , would mandate that the Education Department adopt the broad definition of antisemitism used by the International Holocaust Remembrance Alliance, an intergovernmental group, to enforce anti-discrimination laws.

The international group defines antisemitism as a "certain perception of Jews, which may be expressed as hatred toward Jews." The group adds that "rhetorical and physical manifestations" of antisemitism include such things as calling for the killing or harming of Jews or holding Jews collectively responsible for actions taken by Israel.

The bill's prospects in the Senate are unclear.

Asked whether the Senate would take up the legislation, Majority Leader Chuck Schumer, D-N.Y., told reporters earlier Wednesday that "we haven't seen what the House is sending us yet."

Rep. Mike Lawler, R-N.Y., introduced the bipartisan legislation, which received backing from Democratic moderates who are supporters of Israel amid the country’s war with Hamas.

“In every generation, the Jewish people have been scapegoated, harassed, evicted from their homeland and murdered,” Lawler said in a floor speech before the vote.

"The Jewish people need our support now," he said. "They need action now."

Republicans are seeking to launch investigations into antisemitism on college campuses in response to the pro-Palestinian protests. The current version of the legislation was introduced in late October after Hamas’ Oct. 7 attack on Israel but not brought to the floor until this week.

“When I spoke at Columbia last week, I told administrators that we need deeds, not words, to protect Jewish students,” Rep. Josh Gottheimer, D-N.J., a co-author of the legislation, said in a statement Wednesday. “This bill is a critical step to take the action we so desperately need to stand against hate.”

In a letter Monday to House Speaker Mike Johnson , R-La., Minority Leader Hakeem Jeffries, D-N.Y., wrote that “there is nothing scheduled on the floor this week that would accomplish the concrete, thoughtful strategies outlined by the Biden administration” to combat antisemitism.

Jeffries had demanded a vote on the bipartisan Countering Antisemitism Act , which aims to address concerns about rising antisemitism through the appointment of a new adviser to the president who would be dedicated to implementing its coordinated strategy to counter antisemitism.

“The effort to crush antisemitism and hatred in any form is not a Democratic or Republican issue,” Jeffries wrote. “It’s an American issue that must be addressed in a bipartisan manner with the fierce urgency of now.”

Lawler's bill faced opposition from some progressive and far-right lawmakers, as well as the American Civil Liberties Union, which called the bill's definition of antisemitism "overbroad."

"Speech that is critical of Israel or any other government cannot, alone, constitute harassment," ACLU leaders wrote in a letter last week urging lawmakers to oppose the measure.

The letter pointed in part to an example of antisemitism included in the International Holocaust Remembrance Alliance's definition, which says antisemitism could include "denying the Jewish people their right to self-determination, e.g., by claiming that the existence of a State of Israel is a racist endeavor."

Rep. Pramila Jayapal, D-Wash., chair of the Congressional Progressive Caucus, voted against the bill after having told reporters Tuesday that Republicans were weaponizing antisemitism.

“We all have to continue to speak out against antisemitism and be clear that we don’t like — we will not tolerate antisemitism any more than we tolerate Islamophobia or any of the other hatreds and discriminations that are out there,” she said.

Jayapal also argued that the bill “has a definition that is so broad” that many Jewish groups do not support it.

“So why would you do that? Except if you want to weaponize antisemitism and you want to use it as a political ploy,” she said. “Let’s remember that many of these Republicans didn’t say a word when Donald Trump and others in Charlottesville, other places, were saying truly antisemitic things.”

Trump, as president, sparked a backlash when he suggested that "many sides" were to blame for the deadly violence at a white nationalist rally in Charlottesville, Virginia, in 2017, declining to single out white nationalists.

Separately, Rep. Jerry Nadler, D-N.Y., said that the definition was so broad that it would threaten constitutionally protected free speech. He, too, voted against the bill.

Rep. Sara Jacobs, D-Calif., said in a statement after she voted against it that while she has "experienced antisemitism all my life," the bill "would stifle First Amendment rights to free speech and free assembly."

Jacobs also said she does not believe that anti-Zionism is "inherently antisemitism," saying that "conflating free speech and hate crimes will not make Jewish students any safer."

Rep. Marjorie Taylor Greene, R-Ga., voted against the bill because of a disagreement with an example of antisemitism listed in the International Holocaust Remembrance Alliance's definition, which referred to using "symbols and images" such as "claims of Jews killing Jesus or blood libel" to describe Israel or Israelis.

Greene argued on X that the bill "could convict Christians of antisemitism for believing the gospel that says Jesus was handed over" for crucifixion with involvement of some Jewish authorities, including Herod.

Rep. Matt Gaetz, R-Fla., voted against the bill for similar reasons, pointing to the same example of antisemitism, which many Jews consider harmful.

"The Bible is clear," he wrote on X . "There is no myth or controversy around this."

Activists working to counter antisemitism have pointed out that Jews have been scapegoated throughout history for events including the crucifixion of Jesus and that such claims have been used to justify violence against Jews.

Summer Concepcion is a politics reporter for NBC News.

Megan Lebowitz is a politics reporter for NBC News.

Rebecca is a producer and off-air reporter covering Congress for NBC News, managing coverage of the House.

House passes antisemitism bill over complaints from First Amendment advocates

Critics argue the Antisemitism Awareness Act, which gained overwhelming GOP and Democratic support, is an effort to silence criticism of Israel

House Republicans are seeking to unite their unruly majority around an evergreen conservative cause, devising a strict response to the wave of pro-Palestinian protests that have roiled college campuses across the country in recent weeks.

GOP leaders this week announced plans for new oversight investigations of elite universities where — in the words of House Republican Whip Tom Emmer (Minn.) — “pro-terrorist anti-Semites [are] taking over.” And on Wednesday, they passed the Antisemitism Awareness Act, which its advocates said would empower the federal government to crack down on anti-Israel protests on campuses by codifying a definition of antisemitism that encompasses not just threats against Jews, but also certain criticisms of Israel itself.

“We must give the Department of Education the tools to … hold college administrators accountable for refusing to address antisemitism on their campuses,” said Rep. Michael Lawler (R-N.Y.), the bill’s lead sponsor.

The bill was approved by a vote of 320-91, with a majority of Democrats — 133 — joining Republicans.

College protests over Gaza war

Lawler’s bill — with 61 co-sponsors, including 15 Democrats — would create “a clear definition of antisemitism” in U.S. law that the Education Department could then use to cut off funding to academic institutions found to tolerate such behaviors. The definition, however, has drawn fierce opposition from First Amendment advocates such as the American Civil Liberties Union and liberal Democrats, who say it veers sharply into the realm of restricting political views.

It’s unclear what the bill’s prospects are in the Democratic-controlled Senate or how the White House views it. Previous iterations failed to muster sufficient support in Congress, but both its supporters and opponents say the ongoing protests and a rise in antisemitism since Hamas ’s Oct. 7 attack on Israel have injected fresh momentum.

If it does become law, the federal definition of antisemitism, adopted from the International Holocaust Remembrance Alliance , would include such speech as “claiming that the existence of a State of Israel is a racist endeavor”; “applying double standards” to Israel that are “not expected or demanded of any other democratic nation”; and “drawing comparisons of contemporary Israeli policy to that of the Nazis.”

The idea is that student-held signs, for example, like those displayed at Columbia University in New York this week, calling for “revolution” or “intifada” — which means “uprising” — would amount to antisemitism under the law. The Education Department, in turn, could then revoke federal research grants and other funding to a university that fails to take punitive action toward students who express such views, the bill’s proponents say.

Several Republicans said opposing Zionism — the political movement to create, and now to preserve, a state for Jews in their biblical homeland — would qualify as antisemitism under the law. Some suggested that even holding a prolonged protest would constitute antisemitism. “The erection of encampments on college campuses isn’t an expression of speech,” Rep. Marcus J. Molinaro (R-N.Y.) said on the House floor Wednesday. “It is a direct threat to Jewish students on college campuses.”

But the “double standards” example and the notion that Nazi comparisons are off-limits in the case of Israel, among other aspects of the definition, are deeply problematic because they’re too broad and present “viewpoint discrimination,” said Tyler Coward, lead counsel for government affairs at the Foundation for Individual Rights and Expression, a First Amendment advocacy organization.

“Nowhere else in First Amendment law does it say that you can criticize a certain country up to a certain limit, or else you might risk violating federal anti-discrimination law,” he said.

“The First Amendment allows individuals to criticize every country in the world, including our own” — and that includes comparing other governments to the Nazis, however disturbing many Americans may find that comparison to be, Coward said.

Rep. Jerry Nadler (D-N.Y.), a Jewish lawmaker who has co-sponsored other bills aimed at combating antisemitism and described himself Wednesday as a “deeply committed Zionist,” urged colleagues to reject Lawler’s bill, which he characterized as “misguided” because it “threatens to chill constitutionally protected speech.”

“If this legislation were to become law,” he said, universities wanting to avoid federal investigation “could end up suppressing protected speech criticizing Israel or supporting Palestinians,” and students and faculty might be driven to self-censor.

Debate on the House floor grew heated at times, as both sides accused the other of neglecting American values in favor of politics. Pro-Palestinian campus protests have included Jewish participants, and some Democrats noted that several liberal Jewish groups oppose the bill, in addition to the man who authored the antisemitism definition for the International Holocaust Remembrance Alliance.

Republicans pointed to incidents of violence and destruction, exaggerating some — such as a report by a Jewish student at Yale who said she was “ jabbed ” in the eye by a pro-Palestinian protester bearing a Palestinian flag. According to irate lawmakers on the House floor this week, the student, who appeared uninjured when she spoke to CBS News, had been “stabbed in the eye.”

Rep. Josh Gottheimer (N.J.), a centrist Democrat who co-sponsored the legislation with Lawler, pushed back on his colleagues’ free speech concerns, saying he “ensured” the bill “protects the First Amendment” because that is important to him. “It allows criticism of Israel,” he said. “It doesn’t allow calls for the destruction or elimination of the Jewish state.”

Opposing elite, often left-leaning universities has for years been a popular rallying cry for Republicans, and it could prove even more so in an election year in which intraparty tension over how to handle the war in Ukraine and other national security policy questions has slowed congressional action in other areas. The antisemitism bill and college oversight efforts allow conservatives to demonstrate moral clarity in support of Israel while spotlighting divisions among Democrats.

“What Republicans seem to be doing is bringing forward things that they hope will divide us,” Rep. Pramila Jayapal (D-Wash.), leader of the Congressional Progressive Caucus, told reporters this week, noting that several liberal Jewish groups oppose the measure because the definition of antisemitism is so broad. “So why would you do that, except if you want to weaponize antisemitism and you want to use it as a political ploy?”

Polls have shown the American public has grown uncomfortable and divided over U.S.-Israel policy in the six-plus months since Hamas waged a devastating cross-border terrorist attack on Israel and Israel began its punishing campaign of retaliation, destroying most of the Gaza Strip’s infrastructure and displacing most of its 2.2 million Palestinian residents.

The ongoing Israeli offensive, which has so far killed more than 34,000 people, according to local health authorities, and given rise to famine , has unleashed a furor among liberal college students in particular, who have disrupted classes and shut down campuses in protest, calling for their institutions to divest from funding, investments and partnerships with the state of Israel.

Police in New York arrested some 300 people overnight Wednesday, after officers in riot gear breached a campus building that had been occupied by pro-Palestinian protesters. A separate pro-Palestinian encampment at UCLA meanwhile came under attack from counterprotesters, who unleashed fireworks and chemical sprays at the student activists, igniting clashes and a fierce rebuke from the campus newspaper’s editorial board.

Many liberals have called for police restraint and for university administrators to respect a long-standing tradition of campus activism, including antiwar movements. Democrats who oppose Lawler’s bill also called the Republican effort to crack down on antisemitism disingenuous and hypocritical, pointing to Republicans’ frequent defense of free speech — and condemnation of liberals’ “cancel culture” — in other contexts.

“How dare the party of Donald Trump and Marjorie Taylor Greene come down here and lecture Democrats about antisemitism,” Rep. Teresa Leger Fernandez (D-N.M.) said on the House floor Tuesday. “Remember, the leader of the Republican Party, Donald Trump, dines with Holocaust deniers , and said there were ‘ fine people on both sides ’ at a rally where white supremacists chanted ‘Jews will not replace us.’”

Rep. Marjorie Taylor Greene (R-Ga.) said she opposed the bill because she was concerned it could be used to persecute Christians who claim the Jews killed Jesus — a belief that is regarded by many Jews as an antisemitic trope. “Antisemitism is wrong,” she wrote on X on Wednesday, adding that she would not vote for the law because it “could convict Christians of antisemitism for believing the gospel that says Jesus was handed over to Herod to be crucified by the Jews.”

House Democratic Leader Hakeem Jeffries (N.Y.) urged Democrats to back an alternative, also bipartisan antisemitism measure introduced in the House by Rep. Kathy Manning (D-N.C.) that would establish new positions focused on antisemitism at the White House and the Education Department and require federal law enforcement to conduct an annual threat analysis of antisemitism in America.

Mariana Alfaro contributed to this report.

Israel-Gaza war

The Israel-Gaza war has gone on for six months, and tensions have spilled into the surrounding region .

The war: On Oct. 7, Hamas militants launched an unprecedented cross-border attack on Israel that included the taking of civilian hostages at a music festival . (See photos and videos of how the deadly assault unfolded ). Israel declared war on Hamas in response, launching a ground invasion that fueled the biggest displacement in the region since Israel’s creation in 1948 .

Gaza crisis: In the Gaza Strip, Israel has waged one of this century’s most destructive wars , killing tens of thousands and plunging at least half of the population into “ famine-like conditions. ” For months, Israel has resisted pressure from Western allies to allow more humanitarian aid into the enclave .

U.S. involvement: Despite tensions between Israeli Prime Minister Benjamin Netanyahu and some U.S. politicians , including President Biden, the United States supports Israel with weapons , funds aid packages , and has vetoed or abstained from the United Nations’ cease-fire resolutions.

History: The roots of the Israeli-Palestinian conflict and mistrust are deep and complex, predating the establishment of the state of Israel in 1948 . Read more on the history of the Gaza Strip .

What's new in Premiere Pro

Premiere Pro

• Adobe Premiere Pro User Guide
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Learn what's new in Premiere Pro.

March 2024 update (24.3)

Now in Premiere Pro, Speech to Text is GPU-accelerated and over 15% faster. Plus, with new marker filtering options, label color presets, and more, it’s the perfect time to update.

Learn about  best practices for updating Premiere Pro.

Faster, GPU-accelerated Speech to Text

Generate transcripts over 15% faster with accuracy improvements across 18 languages.

Improved marker behavior with a powerful new filtering options

Stay organized and find exactly what you need faster with filters for sequence and clip markers.

Create and share Label Color Preset

Choose, name, and share presets for label colors with your team and collaborators so your timelines are always organized by the same colors.

Revamped text styling for captions and graphics

With new thumbnails and a brand-new style browser, you can effortlessly apply and repurpose styles to captions and graphics across projects.

Previous releases of Premiere Pro

• February 2024 update (24.2)
• December 2023 update (24.1)
• October 2023 update (24.0)
• August 2023 update (23.6)
• June 2023 update (23.5)
• May 2023 update (23.4)
• April 2023 update (23.3)
• February 2023 update (23.2)
• December 2022 update (23.1)
• October 2022 update (23.0)

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