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There are various ways to create a new sequence in Media Composer. Once we have a new sequence ready for editing, the first thing we'll want to do is add material to it. So, what I'm going to do here is I'm going to come to my bin. I've got a bin ready for some sequences here. A different way to create a new sequence is to use Command+Shift+N or Ctrl+Shift+N to create a new sequence in your bin, like so. It's a blank sequence. There's no video or audio clips in it yet, and let's give it a name. It's highlighted there, so, let's call this beach.
Now you can see the name beach has cropped up over here, over the Record viewer, and we've also got tracks, video track and two audio tracks. And then next to that, we've got the Timeline palette. This contains numerous tools for editing. So over here, I've got my two Segment mode arrows. At the moment, Segment mode (Lift/Overwrite) is highlighted. Underneath that is Segment mode (Extract/Splice-in). I'll show you the difference between those two in just a moment. But if I want to add some material to my sequence, all I need to do now is go to my Bin area, grab the clip and drop it into the Timeline area.
Now, we've got one clip in our sequence. If we want to add another one, all we have to do is go back up to the bin, find a clip that we want, drag it and drop it into the Timeline. As I drag and drop this clip into my Timeline, you can see I'm getting feedback up in the Composer area there. If I drag it all the way to the right, like so, and drop it, what I've done is added the clip after the kite clip. So we have the kite, then the sand sculpture. I'm going to undo that, Command+Z or Ctrl+Z, and show you that if I now drag the clip and drop it at the beginning of my Timeline, I'm going to get a very different result.
Now the sand sculpture has overwritten the kite clip, almost to the end. There's just a little bit of the kite clip left. Why is that? Well, that's because we're using the Lift/Overwrite arrow. If we drag clips from the bin and drop them into the Timeline using the Segment Overwrite arrow, they will cover up whatever was there already. So let's undo that, and do the same thing again, but this time with the Extract/Splice-in arrow. Now I'm going to toggle it on and toggle off the Segment Overwrite arrow.
So now we're going to inserting segments instead. Let's take the same clip. If I drag it and drop it at the beginning of my sequence, notice that this time, instead of overwriting the kite clip, it pushes the kite clip further down the Timeline. Let's undo that again. What happens if I take the clip using the Splice-in mode, and this time drag it and drop it at the end of my Timeline? Well, there was nothing after this clip to push down, so it just ends up being the next clip in the sequence, like so.
Let's do that a third time. This time let's drag and drop the clip, but instead of dropping it at the beginning of the sequence where it would just push the kite clip down, or the end of the sequence where it would become just the next Clip, I drag it and drop it in the center of the kite clip. Now look what happens. The kite clip has been split into two parts, and the second part was pushed further down the Timeline. Let's recap what these tools are doing. If I use the Lift/Overwrite mode to add a clip into my sequence, notice what happens to the duration of my sequence.
Let's take a different clip here. So if I take the sailboat clip and I drag it and drop it down into my sequence here, maybe if I drop it right at the beginning, notice that not only do I overwrite the clips in the sequence, but the sequence duration remains the same. Let's undo that, and now let's toggle to the Extract/Splice-in mode instead. Now if I take the clip and drop it into my sequence, let's drop it right between the kite and the sand sculpture right there, notice that the sand sculpture and the other part of the kite clip have been shuffled down, and that has increased the length of the Timeline.
So in short, the Lift/Overwrite mode won't affect the length of your sequence; the Extract/Splice-in mode will. I've been editing from the bin, but if we loaded one of these clips into the Source viewer, I could make additional modifications to the in point and out point of my clip and now, I could drag directly from the Source viewer into my Timeline too, and notice that the system is going to use the mode that we selected over here to add that clip from the Source viewer into the Timeline.
If I switch modes, this time, I would be overwriting into my Timeline instead. One final thing that I'd like to bring your attention to here is the idea of track activeness. Everything that we'd being doing so far, has been working with clips where the track is currently active. Let's load the sailboat again. If I turn off the activeness of that track and now try and add material to my Timeline, nothing happens.
In order to make an edit from the Source side to the Record side, both the Source side and the Record side need to be active. The two segment modes and track activeness are fundamental to our firm understanding of how the Timeline will behave when you add, move or remove material in your sequence.
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