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Adding and replacing material is only part of the story; you'll also need to remove material from the sequence in order to build a successful story, and in this movie we'll take a look at 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. So, I have a different sequence here, and there are a couple of shots that I need to change. Specifically I need to remove some material. And let's take a look at the fourth shot in the sequence, which is right here.
The shot starts off pretty static and then the pan starts, and I'm just going to play it in real time so you can see what I'm talking about. (clip playing) Okay, so I'd really like the shot to start about right there. So I want to remove the head of this shot. So I'll mark an out by pressing O. And I want to snap to this edit point, so I'm going to Ctrl+Click or Command+Click and press I. We're dealing with two seconds that we want to remove, except we only want to remove the video, not the audio, so I'm going to deselect the audio here.
We want to remove it completely, so I want to perform an extract. The Extract command is located right here under the Record monitor and right here above the Timeline, and I'll go ahead and just press this right now in the user interface. Okay, so you see that that portion of the clip was extracted, all other clips rippled in to fill the space, and we have this blank filler at the end of our sequence. So the duration of our video track has been altered, but our audio track was left alone because it was not included in the extraction.
So, let's go ahead and play this right now and see if this looks a little better. (clip playing) All right! I think that works better. And if we move over to this clip here of her putting the flower in her hair, I actually just want to get rid of this altogether, but instead of performing an extract what I want to do is perform a lift, because while an extract takes out the shot and then ripples in all of the clips to fill in the gap, a lift is just going to leave behind visual filler and leave all the rest of the clips alone.
So, to quickly mark this clip right here, I'm going to press T, and we have an in and an out point automatically marked for us. And this time, I'm going to press the Lift command, which is right here underneath the Source monitor, or right here above the Timeline. This corresponds to the Z key on our keyboard. And I'll go ahead and press that now, and you can see that this shot is gone and all other shots were left alone.
I can then go back into my bin, find a shot that works better, and overwrite it into the sequence. So you can extract or lift partial shots, as we did here; whole shots, as we did here; or multiple shots, and we'll actually do that at the beginning of the sequence. We have Kim and Dave come in and put down a few suitcases, and then we kind of get in to this artistic montage. If we want to look at this sequence without this intro, we can certainly do that. I can mark an in point at the beginning. And I'm going to Ctrl+Alt+Click or Command+Option+Click if I was on a Mac and mark an out. This will snap to the tail instead of the head, which is what I want here. And then I want to extract both video and audio, so as you quickly select all of my tracks, I'm going to press Ctrl+A or Command+A on a Mac, and then I'm going to press X to extract and the shots are gone.
Okay, so that's how to mark in and out points to extract and lift our material out of our Timeline, either partial shots, whole shots, or multiple shots. Remember, no editor is perfect, and no editor will lay down a sequence perfectly on the first attempt. Removing and tweaking material is sometimes an even more important part of the process than laying it down in the first place. Therefore, make sure to work the Extract and Lift commands into your muscle memory as well. Also, as you'll notice, Lift, Extract, Splice, and Overwrite are all in the lower left-hand corner of the keyboard.
Media Composer groups like functions near one another on purpose. We'll see more patterns as we continue, so get used to these keyboard commands as you keep practicing.
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