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Adding and replacing material is only a part of the equation. You'll also need to remove material from the sequence in order to build a successful story. In this movie, we'll learn how to remove material using the Extract and Lift commands, which as you'll see are the exact inverses of Splice and Overwrite. Let's take a look. Now, I was reviewing my sequence and I found a shot that I really didn't think belonged. It's right here. Let's take a look. (Music playing) We're kind of ramping up here and I think that this shot would go a lot better.
So I'm going to just remote it altogether. Again, to mark this clip, I'm going to press the T key and to Extract I can click on this yellow arrow right here, or it corresponds to the X key on the keyboard. I'll go ahead and press that. As you see the gap closed, the clip disappeared, and everything else shuffled down the timeline. This is what Extract does. It's basically the exact inverse of Splicing. Let's take a look here.
(Music playing) I think that works a little bit better. However, the shot right after it, it was way too short. That must have been a mistake. So again, I do want to take away as well. I am going zoom in, park right in the middle, press the T key to Extract and X. This is very common. You park, press T to mark your clip, press X to Extract and it's gone, like so. And let's play.
(Music playing) You know what, there's one more mistake. If you remember in the last movie, we edited this shot in to overwrite what was previously there. But we also have it here. So we neglected to see that we had a redundant shot in there. I kind of like the timing though. I don't want to close the gap. What I would like to do is remove the shot, think about it, go back to my bin, and pick out a shot that I'd like to include there instead.
So, I'm going to mark this using T and instead of extracting, I'm going to lift it out. Lift is the red arrow here and it corresponds to the Z key on the keyboard. So I've marked my clip, I'll press Z, and it's gone. There's is a black space, which in Avid is called filler, and as you see everything else stayed exactly where it was. We have filler holding the gap here. So as you see, Lift is a really good way to put a placeholder in your sequence to keep your timing the same everywhere else.
Actually, let's go ahead and replace it with something. Come here. We've already used that one, and actually let's go ahead and use our Urban group dancers shot right here. Let's see if this might be a good candidate. I think this might be really nice in this location since we're kind of ramping up with the music and we have a high action shot. Again, we have three marks, one, two, a third in the source monitor.
We'll go ahead and perform an Overwrite by pressing the B key, and let's take a look. (Music playing) So, we had kind of a dead space here, we had some low action shots and some really quick, almost Flash frames included in the sequence and we've replaced it with some of the shots that really work and extracted things that didn't. Remember, no editor is perfect and no editor will lay a sequence down perfectly on the first attempt.
Removing and tweaking material is sometimes, even more important then putting it down in the first place. Therefore, make sure to work Extract and Lift into your muscle memory as well. As you'll notice Lift, Extract, Splice, and Overwrite are all in the lower left-hand corner of the keyboard. Media Composer tends to group like functions near one another on purpose. We'll see more of these patterns as we continue. So, get used to these keyboard commands and keep practicing.
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