One of my favourite things to do during the revisions process is figuring out how to solve problems with other problems (or, certainly 'to collapse two problems so that they can share one solution'). This is partly born of laziness, but it's also really efficiency (isn't all laziness really just efficiency?*). With limited time and energy to spend on revisions, especially in a commercial writing pipeline, you're already in the business of prioritising fixes and deciding what's 'good enough', so anything that lets you do more with those constrained resources is good. (It's not so much killing two birds with one stone as making two birds crash into each other.)
In something I'm working on at the moment, one of the big early scenes had -- or perhaps was -- a big pacing problem. It did not advance the story sufficiently relative to the space it was occupying/what it was demanding from the audience. At the same time, to my reading, people would be reaching the mid-point of the story with a shaky grasp of an important character. An unclear understanding of why he was the way he was, leading to -- most probably -- being emotionally underinvested in what happened to him and significantly undermining the later parts of the story (which were largely fine on their own merits).
My answer was to basically gut large parts of that early scene, keeping the core structure of it, but realigning it to be more about getting angles on that character, and trying to create some stronger, quieter emotional moments amid everything else.
If you looked at that scene on a plotting sheet, it would still largely be doing the same thing in terms of moving the story forward in a macro sense, but the focus of its constituent parts had changed a lot.
That's often what these sort of consolidated changes end up being for me -- throwing something out and realigning the purpose of a moment or scene or concept in the service of some other part of the story. This is one reason that the revisions phase feels much better to me -- the picture of the whole has emerged, and it's much easier to make decisions that converge on that. It can be plot or character or aspect, or just aesthetic details that didn't become concrete until later in drafting -- but this is the stage where everything starts to knit together, like feathers on a pigeon.
*No.