[ GUIDE ]Feature guide
How each tool in the Multicam Toolbox panel works, what it is for, and the settings worth knowing.
Full Pipeline
Switch cameras, cut silences, and mix voices in one pass.
Full Pipeline is Auto-Cut, Silence Removal, and Voice Mixing running back-to-back on the same sequence. Use it when you want to hand the plugin a raw multi-speaker shoot and get back a cleaned, switched, mixed timeline without touching each tool individually.
When to use it. Start here for interview- and podcast-style footage where you want everything done at once and you trust the defaults.
Before you start
- An active Premiere Pro sequence.
- At least one video track and at least one audio track with clips.
- One audio track per speaker, so the plugin can tell who is talking.
Steps
- Open the panel via Window → Extensions → Multicam Toolbox.
- Click Full Pipeline on the landing screen. The plugin auto-scans the active sequence and shows track counts at the top.
- Under Speaker Assign, give each audio track a friendly name (e.g. "Host", "Guest 1"). Toggle off any track you do not want involved.
- Under Camera Routing, check the speakers that appear on each video track. A speaker can be assigned to multiple cameras if the shot covers more than one person.
- Adjust Cut Timing if the defaults do not match your style. "Shortest time on a camera" controls how sticky a camera is; "ignore speaker changes shorter than" filters out brief overlaps.
- Leave Silence Detection on (Balanced is a good default). Tune the thresholds or pick Gentle/Aggressive if you know what you want.
- Optionally enable Voice Processing and pick a noise reduction and compression profile per track.
- Click Execute. A progress overlay appears while the plugin runs; the timeline updates when it finishes.
Settings worth knowing
- Shortest / longest time on a camera
- How long a camera stays before a switch is allowed, and how long before a switch is forced. Raise the minimum for a calmer edit, lower the maximum for a snappier one.
- Ignore speaker changes shorter than
- Brief speaker overlaps are ignored so the edit does not whip around when two people step on each other for half a second.
- Silence presets
- Gentle removes only long pauses; Balanced is the safe default; Aggressive chases every gap. All three are shortcuts for the sliders below.
- Voice Processing
- Opt-in noise reduction, compression, and volume leveling pass applied per track before the mix. Leave off if you prefer to process audio elsewhere.
Tips
- Run on a duplicate of your sequence the first time — it is easier to compare results and dial in settings.
- If silence cuts feel too tight, raise the "breathing room" values before touching anything else.
Auto-Cut
Multicam switching driven by who is talking.
Auto-Cut watches each speaker-labeled audio track and switches to the camera assigned to whoever is currently speaking. Use it when you already have clean audio and just want the multicam cuts done for you.
When to use it. Pick this when you want switching only — no silence trimming, no audio processing. Same UI as Full Pipeline, but Silence Detection starts off.
Before you start
- An active sequence with at least one video and one audio track.
- One audio track per speaker.
- Clear mapping in your head of which speaker appears on which cameras.
Steps
- Open the panel and click Auto-Cut.
- Name each speaker under Speaker Assign. Skip any track you do not want contributing to switching.
- Under Camera Routing, assign speakers to cameras. A speaker can appear on multiple cameras if the framing covers more than one person.
- Tune Cut Timing — this is the main knob for how the edit feels.
- Leave Silence Detection and Voice Processing off (or turn them on if you change your mind).
- Click Execute and let it run.
Settings worth knowing
- Shortest time on a camera
- The minimum hold on a camera before another switch is allowed. Raise this if the cut feels jittery.
- Longest time on a camera
- The maximum time a camera stays even if the same person keeps talking. Lower this for a more cut-y feel.
- Ignore speaker changes shorter than
- Brief speaker overlaps are ignored so the edit does not whip around when two people step on each other for half a second.
Tips
- Mapping the same speaker to multiple cameras is the easy way to get multi-angle coverage — the plugin will pick between them.
- If you also want silence trimming, use Full Pipeline instead of flipping the toggle here. The result is the same, but the label matches the intent.
Audio Export
Per-track WAV stems for editing outside Premiere.
Audio Export writes each selected audio track in the active sequence to its own WAV file. Use it when you want to hand off clean stems to a sound designer, mix externally, or archive raw speaker tracks.
When to use it. Use this whenever you need individual WAVs rather than a single mix. If you want a single mixed output, use Voice Mixing instead.
Before you start
- An active sequence with at least one audio track that contains clips.
- A writable folder on disk (the plugin defaults to your project folder).
Steps
- Open the panel and click Audio Export.
- Confirm the Export Path — it defaults to your project folder. Edit it if you want output somewhere else.
- Set the Base Filename. Files are written as basename_1.wav, basename_2.wav, and so on.
- Under Source Tracks, deselect any tracks you do not want exported. Empty tracks are skipped automatically.
- Click ▶ Export Tracks. Status messages stream in the panel as each track is written.
Settings worth knowing
- Export Path
- Absolute path to the output folder. Must be writable. Pre-filled from the active project when possible.
- Base Filename
- Everything before the _N.wav suffix. Defaults to the sequence name.
- Source Tracks
- Checkboxes for each audio track. Output order matches the track index — top audio track becomes basename_1.wav.
Tips
- Rename your sequence before running if you want the default base filename to be meaningful — it is faster than editing the field.
- Empty tracks are auto-deselected but still show in the list — that is intentional, so you can see the full layout at a glance.
Silence Removal
Detect dead air and cut it out of selected audio tracks.
Silence Removal scans the audio tracks you pick, finds gaps of silence using FFmpeg, and creates timeline cuts at the boundaries so you can ripple-delete them or just leave them in place as splits.
When to use it. Use this when you want precise control over what "silence" means — threshold, minimum gap length, and margin — without running the full pipeline.
Before you start
- An active sequence with audio to analyze.
- FFmpeg (bundled with the plugin — no separate install needed).
- Enough disk headroom for temporary analysis files in the project folder.
Steps
- Open the panel and click Silence Removal.
- Pick the tracks to process. All tracks with clips are selected by default.
- Adjust the four thresholds to taste (they all have short mentor-y explainers right in the panel).
- Click ▶ Process. The plugin runs FFmpeg on each track and reports status as it goes.
- Review the resulting cuts on your timeline. Ripple-delete the gaps, or leave the splits as markers you can act on later.
Settings worth knowing
- Shortest silence to cut
- Gaps shorter than this are left alone. Raise it to keep natural pauses, lower it to trim breaths and ums.
- Shortest sound to keep as speech
- Sounds shorter than this are treated as noise and folded into silence. Helps avoid false positives from coughs, page turns, or mouse clicks.
- Breathing room before / after speech
- Extra silence to keep on either side of the speech. Start with generous values; tighten them once you trust the detection.
Tips
- Run on a duplicate sequence until the thresholds feel right — undo gets awkward if you ripple before you review.
- If it is cutting off the start of words, increase "breathing room before speech". If sentences feel clipped at the end, increase "breathing room after speech".
Voice Mixing
Denoise, compress, normalize, and mix to a single WAV.
Voice Mixing analyzes each included track, applies denoise and compression, normalizes loudness, then mixes the result into a single WAV and drops it onto a new audio track at the start of the sequence.
When to use it. Use this when you want a finished voice mix laid back into the sequence — one track to rule them all — without hand-mixing each speaker yourself.
Before you start
- An active sequence with at least one audio track.
- FFmpeg (bundled).
- Write access to the project folder for temporary and output files.
Steps
- Open the panel and click Voice Mixing.
- Toggle off any track you do not want in the final mix.
- For each included track, pick a Noise Reduction strength, Compression profile, and Volume Leveling mode.
- Click ▶ Process & Mix. A log streams each phase: export, analyze, process, normalize, mix, add to timeline.
- The finished voice_mix_*.wav lands on a new audio track at the start of the sequence. Click ▶ Start Over to adjust and run again.
Settings worth knowing
- Noise Reduction
- Off, Light, Medium, or Heavy. Start with Light; go higher only if the room or mic is obviously noisy. Heavy can smear sibilance.
- Compression
- Light preserves dynamics; Standard is a safe default; Heavy is for when speech needs to cut through music or background noise.
- Volume Leveling
- "Steady voice" nudges overall gain for a stable speaker. "Uneven voices" runs a two-pass loudness normalization — use it for guests, call-ins, or anything with variable levels.
Tips
- If you want individual WAVs instead of a mix, use Audio Export.
- The LUFS meters next to each track need one analysis pass before they show data, so the first run after opening the tool always looks empty.