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Jump Cut removes silence from your footage automatically. It uses voice detection — not a simple volume threshold — so it keeps whispers, breaths at the end of a sentence and quiet delivery, while cutting real dead air. It is approximately 10x faster than competitors like AutoPod. Works in Premiere Pro and DaVinci Resolve.

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Quick Start

The panel is organised in three numbered steps: Settings → Preview → Apply to timeline.
1

Open the tool

Open the Tools Menu (bottom left) and select Jump Cut.
2

Place the playhead

Put the playhead over a representative part of your sequence — one containing both speech and silence.
3

Preview (free)

Click Preview. A 15-second sample is analysed and drawn as a waveform: everything shaded red will be removed.
4

Tune the sliders

Move the sliders and watch the red zones update instantly — no re-analysis needed. Press play to listen to the sample.
5

Apply

Click Create Jump Cuts. Your sequence is backed up automatically before anything is cut.
Jump Cut Interface

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Step 1 — Settings

Voice Sensitivity replaces the old “Silence Cutoff” (dB) setting. It is no longer a volume threshold: the tool detects voice, so background noise, room tone or music no longer count as “not silent”. Higher value = stricter = cuts more.

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Voice Sensitivity

  • 0.10 – 0.30 — very permissive. Keeps whispers, soft-spoken delivery, ASMR, quiet interviews. Use when the tool is eating the beginning of your words.
  • 0.40 – 0.60 — balanced. Standard talking-head, podcast, tutorial. Start here.
  • 0.70 – 0.90 — strict. Cuts aggressively; useful in noisy rooms, with air conditioning, street noise or a loud music bed where the detector is too generous.
If the cut sounds clipped — the first syllable is missing — lower the sensitivity before touching padding. If it sounds sloppy, with breaths and hesitations surviving, raise it.

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Remove Silences Over

The minimum length a silence must reach before it’s worth cutting.
  • 0.10 – 0.20 s — very tight, machine-gun pacing. Great for social/vertical edits.
  • 0.30 – 0.60 s — natural rhythm. Removes the dead air but keeps the breathing room of speech.
  • 1 s and above — only removes the long pauses. Good for interviews where the silences carry meaning.

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Keep Segments Over

Anything shorter than this is not considered real speech: a lip smack, a click, a door, a cough between two sentences. Raise it if isolated noises are kept as tiny orphan clips; keep it low if you have short interjections (“yes”, “no”, “hm”) that must survive.

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Padding

Padding gives each kept segment a bit of air, so cuts don’t feel surgical.
  • Positive values (0.05 – 0.30 s) — the usual case. Extends each segment on both sides.
  • 0 — hard, immediate cuts. Maximum tightness, harsher listening.
  • Negative values (down to -1 s) — shrinks the kept segments, cutting into the speech. Only for very aggressive stylistic edits — it will clip words.
Turn on Split L/R Padding to get the most natural result: a small left padding (0.05 s, so the attack of the word isn’t chopped) and a larger right padding (0.15–0.25 s, so the end of the sentence can breathe).

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Presets

The preset bar at the top of Step 1 saves your whole slider configuration under a name and reloads it in one click. Build one per format — Podcast, Reels, Interview — instead of re-tuning every session.

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Step 2 — Preview

The preview analyses a 15-second sample taken at the playhead and is free — it doesn’t consume credits, so you can run it as often as you like.

Read the waveform

Blue = kept. Red overlay = removed. The picture reflects your current sliders in real time.

Listen to it

Hit the green play button, or click anywhere on the waveform to jump there and audition the passage.
Moving a slider after a preview does not require a new analysis — the cuts are recomputed locally and instantly. Only click Preview again if you move the playhead to a different part of the sequence.
Preview the hardest part of your footage, not the easiest: the passage where you hesitate, where the room is noisy, or where you speak softly. Settings that survive there will work everywhere.

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Step 3 — Apply to timeline

1

Create Jump Cuts

Analyses the whole sequence and applies the cuts. A backup of your sequence is created automatically beforehand, so you can always go back.
2

Delete Disabled Clips (Premiere Pro)

Jump Cut disables the silent clips instead of deleting them, so you can review the result. Click Delete Disabled Clips to remove them and close the gaps.
3

Or automate it

Tick the checkbox on that same button to auto-delete at the end of every run.
On DaVinci Resolve, the Delete Disabled Clips control is hidden — and that’s expected. Resolve rebuilds a new timeline containing only the kept segments, so there is nothing left to delete.

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From the Copilot

You can also just ask in the chat:
“Remove the silences from my sequence.”
The Copilot runs the same engine with sensible defaults. Use the panel when you want to see the waveform and dial the pacing in yourself.

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Common Pitfalls

  • Playhead over a silent or music-only area → the preview sample contains no speech and looks entirely red. Move it over real dialogue.
  • Words getting clipped → lower Voice Sensitivity, then raise Padding Left. In that order.
  • Breaths and hesitations surviving → raise Voice Sensitivity and lower Remove Silences Over.
  • Tiny orphan clips left over → raise Keep Segments Over.
  • Loud music bed under the voice → voice detection struggles. Mute or lower the music track before running, or push the sensitivity up.
  • Negative padding eats into speech by design — it is not a “tighter” setting, it’s a destructive one.
Recommended starting point for a talking-head edit: Voice Sensitivity 0.5, Remove Silences Over 0.3 s, Keep Segments Over 0.2 s, Split L/R Padding on with 0.05 s left and 0.20 s right.