The current stabilization workflow isn't very nice, is it... Stabilizing lots of clips in a large Premiere Pro project is as impossible as ever, unless you have access to lots of cheap labour
I don't think it's possible to script this, based on the fact that Premiere Pro CS5.5 doesn't support any scripting at all.
Guess we still need to wait a few years before deshaking everything can be realistically made part of the standard workflow.
To do a proper job of stabilizing you should be looking at each shot and making specific adjustments to each shot. If your whole project needs to be stabilized then you've handed yourself a long and arduous task that could have been easily avoided with a little care when shooting.
I've been shooting for more years than most of the readers of this forum have been alive and most of that, millions of feet of 16 and 35mm film, were hand held. Most of thousands and thousands of hours of video were also hand held. Only a very small percentage of that footage would require or even benefit from the kind of stabilization that Warp Stabilizer is capable of. The rules of production haven't changed in more than 100 years. If you foul up shooting it takes a long time to fix it in post.
Sure, Rick. What has changed, however, is the fact that digital processing of video has come within reach of the average amateur - the kind of person who doesn't use steadycam, shoulder cam, who concentrates on the action and not the shooting, and whose camera is tiny and thus very easily "shakable". I like helping such people make their old home videos more watchable through extensive use of deshaking. Up until CS5.5, this required the use of amateur software and hugely interfered with the editing process.
You might argue that this type of processing isn't what Premiere Pro is for, and you might even be completely right. But it's pretty damn close already, which must be why this kind of question comes up.
Incidentally, my experience shows that 90% of the shots stabilize very well on default settings, so one does not need to tweak each and every one. Rather, stabilize everything and then look for issues and fix them.
I use all the care possible, my footage comes from rc helicopters (aerial footage), camera mounted on a gyrostabilized 3 axis gimbal and the gimbal is flown by a 3 axis gyrostabilized helicopter with all the sort of stabilization devices existing on this planet, they're the highest technology today available for rc filming but they're not 100% perfect.
Anytime I stabilize them with AE and they are just perfect, no specific adjustment for each shot, I stabilized one year of work with just right click > stabilize footage. A script would make my workflow much much much faster...
The real pain is the amount of mouse clicks I need to do...
I wasn't suggesting that stabilizing won't help your shots, I was suggesting that more care be taken in pre-production to save time and money. Any mistake made in production, any shortcut, like not taking the time to properly handle or mount the camera may, and usually does cost more in time and money to fix than it would have taken to do right in the first place. Even a tiny handy cam or DSLR can be held steady if you take a moment to brace yourself, attach a weight or even attach a small tripod that you use as a counter balance and mini steadycam to the camera.
You can't make a script that will do a round trip from AE to Premiere and back, but you can make an animation preset for stabilizing. May I suggest this workflow.
Rough cut the sequences that you want to stabilize in PPro leaving handles on each shot. Render the rough cut to a production codec (mpeg streams from DSLR's and GoPros all the way to Panasonic P2 and XD cam take more time to decode and stabilize than a production codec or even a jpeg compressed QuickTime). A handle is a little extra footage at the head and tail of a shot so you can slide things around in editing or use transitions.
Now bring the rendered footage into AE, create a new comp, and run the Magnum Edit Detector script in AE to detect the edits. This will detect the edits and split the footage into layers. Now create an animation preset by selecting the first layer in the comp, applying stabilize with your favorite settings. Now select Warp Stabilizer in the ECW and go to Animation>Save Animation Preset. Once the preset is saved select the rest of the layers in your comp and select Animation>Apply Animation Preset and push the button.
Now kiss your computer goodnight and get some rest while it works stabilizing the shots. When the process is complete render your comp, bring the render back into Premiere Pro and do the final edit. Do a scene at a time instead of trying to a whole movie at once. If you want to render individual shots Magnum Edit Detector will even create trimmed pre-comps with the name of your choice for you. This will be much faster than using dynamic link on the entire sequence, it will render in less time, and you'll have more time to enjoy life.