I don't believe it's possible to do this within the Source Monitor. One option is as follows:
- add the clip to a sequence
- double-click the clip in the Timeline, which will load it in the Source Monitor.
- In the Source Mon's flyout menu, enable "Gang Source and Program"
- Set Source Mon to display the Waveform
- scrub & play from either the Source Mon or Program Mon.
I don't know whether this will work for your purpose of cutting out unwanted audio...
Isn't a more direct way to do this is to simply work with the sequence on the timeline? Play the clip and mark the "ins" of the ums and ahs with the asterisk key on the numpad while the clip is playing. Then go back, enlarge the video and audio channels and the timeline and use your markers to locate where to razor out the unwanted portions.
The mechanics of the process aside, I wonder how Dennis plans to cope with the jump-cuts where ums and ahs were removed? - especially if it's a close up of the speaker with long ums and ahs? Perhaps in his case, the speaker isn't in view (?)
Post-posting note: I wrote this before reading Jerry's post. Combining these two methods seems like the way to go.
Many thanks for your quick and helpful suggestions, but they didn't quite solve my issue. Bear with me, I'm an FCP7 expert considering making a leap to the dark side. So far, all looks great in Premiere CC except this one sticking point -- displaying audio and video in separate windows for logging. Why is that so difficult?
I tried the "Gang Source and Program" technique, which did open audio in source and video in program, but one of the two playback windows freezes, e.g. if the cursor is in audio (source) the video (in program) is stuck in pause. I reduced playback quality and size to minimum values, and have a powerful macpro with 12 cores and 24G of ram. IF there is some setting I'm not using to make both windows play, that would solve my problem.
I don't want to just make the edits in timeline because I would like to create subclips to use and re-use in the future. Any resulting jump-cuts will be covered with cutaways.
It is handy to be able to see both the audio waveform and the video while editing dialogue -- very easy to do in FCP.
In case you weren't aware, you can create subclips through the Timeline.
In the course of working extensively on subclips for the CC release, I came up with a set of keyboard shortcuts for this, arranged around JKL and IO:
- P: Add Edit
- [ : Select Clip at Playhead
- ] : Make Subclip
My workflow is:
- JKL to where I want subclip to start
- P to razor
- JKL to subclip end
- frame back to move playhead over the clip I just trimmed
- [ to select clip
- ] to save subclip
When logging clips for a talking head it is useful to see both video and audio wave at same time. e.g. to find and cut ums and ahs. Can this be done in premiere pro? No problem in FCP.
I dont do much with sub clips but if I did in your specific instance...I would be leaving the ums and ahs in the subclip.
Reason is one might need more clip so as to make J or L cuts around the video and audio "issue" ...and that can only be done in the timeline.
Mark thanks, I am new at Premiere so no, I did not realize one can save a timeline subclip, very helpful. In FCP I developed various macro-keyboard tricks to combine many steps into a single button, using Quickeys, which I will try and build for this kind of multi-step process in Premiere.
I still wish I could get those 2 windows, a&v running smoothly in s&p with both visible. It looks like that is not possible in Premiere. This is not a major issue - I know it is easy in the source window to switch back and froth from audio to video, which is probably all we really need. Thanks for the information.
My desire to see the audio waveform while editing a talking head includes more than only identifying the ums and ahs, although that was the only example I gave above. More importantly, when someone is speaking at length you generally want to log each complete statement as a clip, perhaps ending up with 20 clips from a 10-minute interview. To find the start and end point of that useful portion is where seeing the waveform helps, because so often the speaker hems and haws with a false start or two, then blurts out a good sound bite, then mumbles off at the end. Isolating that good bite is why I want the wave form visible and playing, to mark in and out. I suppose I can do it by just having the audio visible in the source clip, but I still wish I could have a & v in two frames.