This video explores the main ways of removing material from a sequence, including extracts, lifts, and basic trims. You look at how to use the razor tool to section off material, and you also explore setting in and out points to dictate the area of removal. You also discuss the ramifications of track selection in extractions.
- [Instructor] So we've got our interview sound bites in the basic order that we want. But because these are real people who are expressing their own thoughts and ideas, not everything is presented in the most concise of manners. There are some pauses, some "um"s and "ah"s and rephrases of questions that can be cleaned up, which is what we're going to do here. We're going to examine how to remove material using lifts, extractions, and basic trims. Alright, so before we actually dig in to the individual sound bites, and start removing very specific parts of what they say, I do want to just first briefly cover removing entire shots.
If I want to get rid of these shots here, for example, and I just want to lift them out of the timeline, and leave everything else alone, then I just select them, and then press the delete key on the keyboard. Alright? Easy enough. Let me undo that, command or control Z. Now, if I want to close the gap, so I want to ripple all of the downstream clips back to fill in the part that I removed, then I'm going to option delete, or alt backspace on a PC. Alright, you can see the clips are gone, and then everything downstream rippled in to fill in that gap.
I'm going to undo that, command Z, okay, because we actually do want those clips, and now we're going to talk about digging a little bit deeper because we want to remove specific moments within these interview sound bites. Alright, I'm going to start with this very first one, where Jack talks about craftsmanship, quality, and community spirit. I'll go ahead and play the whole thing, and I want to show you exactly what I want to remove. - Craftsmanship, quality, and community spirit is a big part of who we are, and our mission statement reads, really those three words.
And that underlies everything that we do. - [Instructor] Alright, so I want it to be nice and punchy. I want him to say craftsmanship, quality, and community spirit. That underlies everything that we do. So I'm going to show you a few ways to do this. I'm first going to show you a way that technically works, but I think is a little less efficient, and then, from then on, we're going to do what I think is the most efficient way. Alright, so let's identify the portion of this clip that we want to remove, and I'm going to use the razor tool to cut it up, and then delete what I don't want.
Alright, so I'm going to use j, k, l to find that moment. - Quality and community spirit. - [Instructor] I think I've got it. And our razor tool over here is keyboard shortcut C. So I'm going to press C, and notice that my razor tool does snap to my playhead, which is nice. And then I'm going to come down here and find the next moment. - Words. And that. That. - [Instructor] And let's cut that. Alright, so I've sectioned off what I don't want. I immediately want to go back to the selection tool, V, or else I'm going to be cutting up my entire timeline.
So I'll select V, and again, if I just wanted to lift that out, I would press delete. Not what we want to do. Instead, I would press option and delete, or alt backspace. Alright, so let's take a listen. - Ity spirit. That underlies everything that we do. - [Instructor] Alright, not bad. Let me undo that, though, because I want to show you what I think is a better way. Instead of cut, cut, and then extract, what I want to do is just mark an in and an out point around the area that I want to extract, and then use the extract command in order to do that.
Alright, so again, let me just find those moments using j, k, l. - Community spirit. And that, that. - [Instructor] I've marked my in and my out, and now I'm going to perform an extract using this onscreen button here, or the apostrophe key. Alright? So this is a very common operation. You mark an in, you mark an out, and then you press apostrophe. Okay? So it's easier, it's less steps, and we should be in good shape here on this edit. - Quality and community spirit. That underlies everything that we do.
- [Instructor] Alright, very good. Let me undo that, and just to show you a lift, I'll mark an in and an out, and then, this onscreen button here, or the semicolon key is lift. It does what you probably would expect, so I'll press semicolon, and then we're left with this gap. However, let me undo one more time because I want to draw your attention to our good old track selectors. When you are extracting material, your track selectors are very important. If I'm lifting material, and I don't have both video and audio selected, so let's say I only have audio selected and I turn off video, and I perform a lift.
I'll press the semicolon. Alright, you can see that that chunk of audio was taken out, but the video was left alone. Now, if I only have one or the other selected, so right now I just have my audio selected, and I perform an extract, watch what happens. I'll press apostrophe, and you see that I still had both video and audio extracted. Now that is because I have my sync locks on, okay? So basically it's saying that these are locked together, so whatever happens to one, happens to the others so I don't go out of sync.
Let me show you what happens if you don't have sync locks on so I'll unlock my video and audio from one another, and now I have audio selected but not video. And if I perform that same extract, watch what happens. We're going to press apostrophe, and now, if we look downstream, everything is out of sync by 6 seconds and 13 frames, which happens to be the same exact duration of the portion of the segment that I extracted. So let me undo that, command Z.
If you are working without sync locks, then your track selection is very important. It's very important anyway, but always be aware of your track selection when you're removing material. Okay, so with all those demos, let's go back to extracting this inner portion, so I'm going to press the apostrophe, and we've got our nice punchy sound bite to start things off. So I'm going to go forward, and there's actually quite a lot to remove from many of these shots, but I just want to take a look at a couple more. And then, we can move to the poster move sequence, which as you can see, has a lot of extractions done in order to make this a lot more concise.
But for now, I'm going to come to this marker here, and let's give it a listen, and see exactly what we need to do here. - Quality. We source the highest quality ingredients we can. We're not afraid to pay a little bit more for a higher quality product, or ingredients to put into our product. I think first and foremost. - [Instructor] So he stumbles just a bit here, so let's clean that up. And we'll do that by setting in and out points and then extracting. Alright, so I'm going to use j, k, l to find the moment where I want to start the extraction.
- We source the highest quality ingredients we can. We're not afraid to pay a little bit more for more. For higher quality product, or ingredients to put into our (stutters) - [Instructor] Alright, I think we're close, but I think I need to add one more word here. - A little bit more for - [Instructor] Yeah, I think we need that for, in order to make this work, and I'll mark it in here, I'll press apostrophe, and I'm going to play over this.
- A little bit more, for ingredients to put into our product. - [Instructor] Alright, so we've technically removed what we needed, but it is a little rough going from this clip to this clip, but that's okay, because we're going to spend all of chapter five talking about trimming. Where we can, you know, very delicately let out frames, and take in frames, and make sure that these edits are smooth. But bottom line, we removed what we needed to, and now we can come back in and refine later. Alright. I'm going to press \ to zoom to fit, and speaking of trimming, I do just want to go over one very basic type of trimming.
because it is such an important part of removing material from our sequence, and then we can expand upon it in Chapter Five. Alright, I'm going to come to these first few clips here, and I'm pretty sure we have something that we need to remove from the end of the shot here. - Craftsmanship. We have Casey and his team, who care meticulously about the, He's here. Anytime the beard needs him. And, - So I always, - [Instructor] So he starts to say "and" right here, I believe this is the portion that we want to remove - And - [Instructor] Yeah, about right there.
So, if we wanted to, I could set an in and then I can shift drag in order to snap there, and set an out, and then press apostrophe, and we've extracted it. But, most people would get this done with a trim. I'm going to remove my in and out points by pressing option x, or control shift x on a PC. And instead, I'm just going to grab the edge of the clip, and then drag back. And so now we've removed it; however, by default, we're leaving this gap. Alright? So that isn't what we want to do.
We'd have to just select the gap and then press delete, and now we've closed it up. And I can play. - And then beard needs, - So I always tell peo. - [Instructor] Alright, now I'm going to undo that, and I'm going to give you just a little preview, for what most editors do here instead. And that is to switch over to the ripple edit tool. It's this onscreen key here, or the B key. Alright, so if you press b, then notice that it turns yellow instead of red. And now, when I drag, it's simply going to close the gap automatically, and so things should be good now.
- Time the beard needs, - So I always tell - [Instructor] Okay, and if we needed to move a few more frames, which I think we do, we could continue to refine like so. And when we're done trimming, you switch back over to your selection tool, v, and you're ready to keep editing. So that's just a little preview of trimming, that we'll get into in much more detail in the next chapter. Alright, so it's up to you how exactly you go about removing material from your sequence, but as you can see there are lots of various options to help you get the job done.
This is the first part of a two-part series. The second installment explores more intermediate techniques.
- Touring the Premiere Pro interface
- Asset organization and project management
- Basic editing
- Trimming and refining
- Basic audio editing
- Working with stills and graphics
- Basic effects
- Manipulating clip speed
- Using automatic and basic color correction tools
- Working with titles
- Sharing and exporting