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In this movie and the next, we'll cover two more powerful trim methods, Slip and Slide. First we'll explore Slip, which allows you to trim to change your shot's content. Slipping a shot means that you access a shot's handles to change its content, but you leave the shot parked exactly where it is in the Timeline. That is, it doesn't move while you make the adjustment. So I have a sequence here and I have a locator downstream telling me that there is a problem that I need to fix. Let's go ahead and play through and see what we think.
(music playing) Obviously, we have a problem here. We have him flipping up the hat and the hat is already on. But we like the timing. We don't want to move this clip at all. We just want to change its content, which means that we need to access its handles. So we're going to zoom in. We could use our Scale bar down here, but in a previous movie, I mapped my more detail to my up arrow, so I'll go ahead and zoom in with that. And I'm going to enter Slip mode.
There's a couple of ways to do this. I can either lasso the entire segment from right to left and this gets me into Slip mode. You know that you're in Slip because you have a roller on the inside of the beginning and end of your segment. You also have a four-window display, and we're going to go over exactly what each one of these windows does when we perform our Slip. Before doing that, I want to show you one more way to enter Slip, and I'm going to get out of Slip by the same way that I get out of Trim, which is to click on the timecode track.
You can also just enter Trim mode and then right-click on the segment and choose Select Slip Trim. So with those two methods at our disposal, let's go ahead and perform the Slip. We can use our Trim buttons. We can use the equivalent trim buttons on our keyboard: the M, comma, period, and backslash. We can drag the rollers. We can use JKL. Any way that we know how to trim, we can also Slip. So I'm going to use JKL because it's my favorite way to trim and I'm going to hold down K, and I'm going to rock back with J because it looks like we need to access an earlier part of this clip.
So I'm going to hold down K and rock back with J. (music playing) And I'm letting go there because I think that the shot with him bringing up his hat is going to match nicely with this frame right here. So as we are Slipping, you see that the first and the fourth frames remain static, because those are the frames on either side of where my shot is going to lie, and because I am not moving this shot, they stay the same.
And my second and my third frames are updating because I'm changing the shot's content. This is now the first frame of my shot. This is now the last. I still have my K key pressed down. Now I'm going to release. You'll notice that I actually went to the left by sixty-five frames. That is over two seconds. And now I'm going to play through. When I'm in a Slip, it does a pre-roll, which is currently set at two seconds, before the clip, and it does a post-roll, which is at two seconds after the clip.
Let's go ahead and play through and see if this matches better. (music playing) We're still really zoomed in, so I'm going to press the down arrow a couple of times to get myself zoomed out. But I thought that that cut really worked. It looks like we fixed that. Let's go on to another sequence and this is again, our interview sequence. Again, we have a couple more locators that indicate some places where some Slip trims might be useful.
Let's go ahead and zoom in and we'll play through here. (Female speaker:--time where the roles are defined.) We want to match that up a little bit better, so we'll go ahead and enter Slip. I'll just lasso from right to left. And I think we'll probably have to access a moment earlier in time, so earlier means to the left, which means I'm going to go back with J. Again, I think I'm going to hold down K so I don't miss it, and we'll go left.
(clip playing) And I'm just tapping J one at a time as I keep K depressed so that I can get it just perfect, and it looks like this is going to match up well. I'm going to now release the K button, and we have altered this shot by fifty-five frames. Let's go ahead and play through. (Female speaker: It brings you to a simple time where the roles are defined.) Not quite, I'm going to go back a little bit more.
I'm going to press K while tapping J. (clip playing) I'm going to go back with L. (clip playing) Let's try that out, and let's go ahead and play through. (Female speaker: Brings you to a simple time where the roles are defined. One person follows, one--) I think that could work.
I think it probably needs a little bit more tweaking, but it's good for now, and you can get it exactly perfect in your sequence. So as you can see, Slip is a great way to be in tune with your sequence right down to the frame as you tweak a shot's content but maintain its duration and position.
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