To understand the impact of PluralEyes 2.0, one must first understand the "sync problem." In the era of DSLR cameras—such as the Canon 5D Mark II and 7D—filmmakers gained access to cinematic visuals but were saddled with abysmal onboard audio. The standard practice became recording high-quality audio on a separate device (like a Zoom H4n) and syncing the two in post-production.
PluralEyes 2.0 is not compatible with modern versions of Premiere Pro (CC 2018 and later). It was built for Premiere Pro CS5, CS5.5, and CS6 (32-bit and early 64-bit). Users today must use PluralEyes 4.0 or later, or the built-in "Synchronize" feature in Premiere Pro.
“That’s from the CS6 era,” Lena said. “It’s abandonware.”