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Tips on B-roll sequences

From: Documentary Editing with Premiere Pro

Video: Tips on B-roll sequences

Along with interviews the other major ingredient for a documentary are observational shots and sequences, also called B-roll. Basically, shots of things happening. We're already in our Metalogging setup, but I want to take a closer look at the B-roll and an easy way to do that is going to be to go full screen with this frame using the Tilde key, and then I also want to switch over to thumbnails. So I basically see all of my B-roll just spread out in front of me, and just by mousing over, I'm able to scroll, see what these shots are all about. So here are some of the things I notice.

Tips on B-roll sequences

Along with interviews the other major ingredient for a documentary are observational shots and sequences, also called B-roll. Basically, shots of things happening. We're already in our Metalogging setup, but I want to take a closer look at the B-roll and an easy way to do that is going to be to go full screen with this frame using the Tilde key, and then I also want to switch over to thumbnails. So I basically see all of my B-roll just spread out in front of me, and just by mousing over, I'm able to scroll, see what these shots are all about. So here are some of the things I notice.

First of all, I love intentional shooting, I like to be able to look at a glance and be like that's a shot of, that's a shot of a box, that's a shot of BD walking, this is a shot of a truck pulling out. It may seem like the simplest thing in the world, but one of the important things to learn about shooting B-roll is to be intentional to shoot something on purpose. The second thing I'm noticing, and you have to look a little closer is good variation of framing, I'm talking about wide shots, tight shots, and medium shots, and what I see is in a sequence like this you can't see it right-away, but this stays wide on our chef as he is talking and going through his herbs, and this shot--the B shot--even though it starts wide most of it is tight, and I can see right-away that I'm going to be able to connect this shot with this shot, and it's going to work well.

There is a lot of other places that I see that variation of framing. Nice wide, here, will be good for establishing, and a nice tight, here, on these radishes is going be nice during the Farmers Market scene. Two more things I've noticed and they're really important. One is good shots with people, and I mean candid shots, so I really like this here, because it's our main character named BD, but we have a nice long shot of him doing his thing in a natural way interacting with people and smiling.

So I like that a lot, and then I also like when there's clear sequencing when I can see that things are going to go together in a logical way, and without even scrolling over I already see that in a sequence where things are being picked here and here again with the variation in framing then produce is being packed, and eventually the truck drives away. Right in the early stages evaluating the footage I know that sequences like that are going to be truly valuable in the edit.

As an editor you may not always have complete control about what gets shot in the field. You always want to evaluate the footage you get, pick out the best stuff, give some feedback, and use it as a lesson for those opportunities when you really are out in the field directing your own shoot.

Show transcript

This video is part of

Image for Documentary Editing with Premiere Pro
Documentary Editing with Premiere Pro

44 video lessons · 10901 viewers

Jason Osder
Author

 
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  1. 5m 7s
    1. Welcome
      51s
    2. Using the exercise files
      1m 35s
    3. Interpreting a creative brief to establish goals
      1m 29s
    4. How to use this course
      1m 12s
  2. 12m 49s
    1. Identifying messaging concepts
      1m 58s
    2. Tips for working with interviews
      4m 53s
    3. Tips on B-roll sequences
      2m 58s
    4. Researching background and history
      3m 0s
  3. 37m 38s
    1. Organizing the ingest process
      3m 43s
    2. Choosing an interview logging method
      2m 40s
    3. Adding interview metadata
      4m 56s
    4. Logging interviews with markers
      6m 18s
    5. Adding notes to B-roll clips
      5m 36s
    6. Preparing archival images with Photoshop
      9m 20s
    7. Pulling selects and presenting ideas
      5m 5s
  4. 51m 20s
    1. Structuring the edit
      3m 0s
    2. Assembling B-roll shots
      8m 52s
    3. Assembling interviews
      6m 56s
    4. Building sequences and scenes
      7m 53s
    5. Editing interview bites on the Timeline
      6m 16s
    6. Adding other media types to the Timeline
      6m 5s
    7. Completing the rough cut
      10m 1s
    8. Presenting the rough cut and receiving feedback
      2m 17s
  5. 31m 6s
    1. Planning moves on photographs
      6m 23s
    2. Animating images
      9m 17s
    3. Creating a title graphic in Photoshop
      6m 8s
    4. Animating a title graphic in Premiere
      6m 40s
    5. Presenting graphics work
      2m 38s
  6. 55m 28s
    1. Performing an editorial evaluation
      4m 41s
    2. Refining scene order
      2m 53s
    3. Adjusting interview content
      7m 57s
    4. Adjusting B-roll shots
      6m 29s
    5. Tightening clip timing
      6m 21s
    6. Fine-cutting audio
      9m 22s
    7. Reviewing all assets
      6m 18s
    8. Adding end credits
      5m 12s
    9. Locking the picture and preparing the Timeline for finishing
      3m 37s
    10. Presenting the picture lock to the client and receiving approval
      2m 38s
  7. 34m 8s
    1. Evaluating the piece for finishing goals
      7m 11s
    2. Polishing the final audio mix
      7m 49s
    3. Correcting color for consistency
      9m 49s
    4. Adjusting the title and animations for the best compression
      5m 56s
    5. Exporting multiple files
      3m 23s
  8. 50s
    1. Next steps
      50s

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