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Kelley Slagle began directing, producing and editing independent films with Cavegirl Productions in 2004. Here she talks about her advantages with using Digital Anarchy’s transcribing plugin.
I first heard of Transcriptive while preparing a talk I was giving on documentary editing for Post|Production World at the NAB Show earlier this year (and ended up recommending [it] to attendees of the class).
We are using Transcriptive to transcribe all of our interviews for EYE OF THE BEHOLDER. We have 40+ hours of footage, and the idea of paying a premium for that much manual transcription was daunting. I am in the editing phase now. We are collaborating with a co-producer in New York, and need to share our ideas for edits and content with him, so he is reviewing transcripts generated by Transcriptive and sending us his feedback and vice versa.
The ability to get mostly accurate transcription (I would estimate 85%) versus completely accurate is fine for us, as we did not expect the engine to know proper names of characters and places in Dungeons & Dragons. We are able to find what we need by searching a text file or searching the metadata thanks to the feature of saving the markers in our timelines. As editor, I will now be able to find an exact quote that one of my co-producers refers to, or find something by subject matter, and [I] anticipate this will speed up the editing process greatly. And when it is time to do transcription/captions of our completed project, I will use the plug in again on final exports.
As I said, I have recommended and continue to recommend Transcriptive to producers and editors. I was thrilled to hear of it earlier this year, and so glad to have become a regular user.
Cavegirl Productions, headed by founders Kelley Slagle and Seth Polansky, has produced numerous successful projects since 2004, including 13 short films, a web series, and is the creative force behind 2014’s award-winning comedy feature, OF DICE AND MEN. Additionally, Cavegirl Productions is on target for releasing a feature documentary in 2018 - EYE OF THE BEHOLDER, THE ART OF DUNGEONS AND DRAGONS.
Kelley Slagle, Cavegirl Productions
Having acquired a significant deaf community at Willow Park Church, we needed to figure out a way to get our online videos available to them. At first I considered recording the American Sign Language (ASL) interpreter, but was told that some hearing impaired people do not understand sign language well. So instead, I have been using Transcriptive to subtitle our online videos for the deaf. I’m also working [with our lead pastor] on a series of podcasts and I’ve been using Transcriptive to produce transcripts of the podcasts in order to make them searchable. (Note: We’ve not release the podcasts yet.)
One of the most useful and time saving features of Transcriptive is the fact that our lead pastor was born in the United Kingdom (UK), but has done ministry in many parts of the world which has resulted in a very unique accent. While there are many speech-to-text engines available, none could understand his accent. Transcriptive works very well. This saves us a lot of time too, being that we used to spend many hours manually transcribing. The time we now spend on it is reduced significantly. Seeing the text highlighted as the track is played, and being able to make edits without your hands needing to leave the keyboard is brilliant!
Until I used Transcriptive, I couldn’t find a speech-to-text engine that worked well with two speakers in an interview situation. This has been particularly helpful and Transcriptive does an amazing job, and it reliably identifies the two speakers. Speaking of which, the transcripts have been very accurate. Which is significant since I haven’t been able to find an engine that understands [our pastor’s] accent until now.
I’ve been recommending Transcriptive to colleagues now, and will continue to do so in the future.
Chris Neufeld, Willow Park Church
Windy Films is focused on telling stories of social impact and innovation. We tell real stories with real people. Our backgrounds are in documentary film and have taken then sensibility into our commercial work.
We use Transcriptive for everything. The integration into premiere has been incredible. We’ve been getting transcripts done for a long time. The workflow was always a clunky; particularly to have [transcripts] in a word document off to one side. Having the ability to click on a word and just have [Transcriptive] take you there in the timeline is one of our favorites.
Recently, we completed a project for Planned Parenthood. The deadlines were incredibly tight and Transcriptive was quite helpful in keeping to our schedule. Trying to beat the senate vote on the healthcare repeal bill, we were editing while driving back to Boston, Massachusetts from Iowa. The fact that we could get transcripts back in a matter of hours instead of a matter of days allowed us to get it done on time.
The accuracy of the transcripts has been a mix. When the audio is good the transcripts have been very accurate. We tried Watson at first, but found it to be a bit too inaccurate. Swapping over to Speechmatics has been solid for us since.
Harvey, Windy Films
Oh My! Productions (OMP) is a small production house in New York specializing in documentary films. We’re using transcriptive to transcribe both sit down and on-the-fly interviews, recently it helped OMP with our new documentary film Ren & Luca. Now, depending on the quality of the audio, Transcriptive can even be used for the odd verite scene. Furthermore, we’ve used it on finished projects to create transcripts for closed captions and subtitles.
OMP can’t even begin to say how useful Transcriptive has been; or how much time it has saved us. The turnaround time to receive the transcripts is SO much faster than when we sent it to a service. Sequence markers are used to mark up our interviews, so when we’re searching for a specific word, or phrase, we can easily find and access them.
Transcriptive allows us to find replacements when a critical word in a sentence has interference. Our workflow has become much smoother once we’ve incorporated the Transcriptive markers into our projects. Now, we keep the markers window open and can hop to our desired areas rather than shuffling back-and-forth between our text document transcript and [Adobe] Premiere.
The transcripts are as accurate as our speakers (we have a subject who tends to mumble) and sometimes there is a little more tweaking that has to happen for those subjects, but Transcriptive has been a great tool for very clearly recorded material. We’ve had the best luck with Speechmatics [speech services]. The time it saves outmatches the amount of time you need for corrections.
Transcriptive has been particularly helpful with our new documentary Ren & Luca. We LOVE Transcriptive, and have been telling anyone who is willing to listen. It’s been the game changer for [Adobe] Premiere we’ve been waiting for.
Joy E. Reed, Oh MY! Productions
Transcriptive has already become an essential part of my ingest workflow. It has allowed clients to review raw footage faster and at their own pace. Many corporate clients do not have time to sit down and review a long interview, but with Transcriptive they can easily review text in the early stages to begin building a script.
Transcriptive has saved countless hours of reviewing raw footage to find soundbites a client thinks they remember from a past shoot. I am able to quickly find and access these clips in interview footage without the need for detailed log notes ahead of time. Saving time and manpower at these early stages allows for budgets to be economically stretched. As a result, we can spend more time on color grading, graphics, and other essential finishing in post-production.
Anyone who works with interview footage or creates documentaries needs to incorporate Transcriptive into their workflow. It is like having the best assistant editor with you at all times throughout post-production.
Name Withheld, Transcriptive Editor