SECONDARY SHOTS
I t might be called B-roll and typically used in three-second bursts, but it’s absolutely crucial in order to make A-grade films. B-roll is the extra footage used to enhance the real story – the A-roll, that is. The A is the main subject of the scene or narrative, while the B-roll is additional imagery that can establish the tone, characters or setting. More simply, it provides extra footage for the editors to break things up and change pace. That includes being able to cover up inevitable mistakes. Far from an afterthought, it’s often what transforms a film from being an amateurish recording to something far slicker and more professional. It’s where you can get really creative, as alternative angles, different lenses, funky camera moves, extreme close-ups and drone shots can move the visuals of your story on to new heights. Some B-roll clips are so important, they’re pretty much as essential as A-roll – such as an establishing shot, close-ups
edit, as it can add a lot of interest and hide awkward cuts. Remember, B-roll is not for showing off your flashiest moves – unless they add to the story – but to contextualise the setting or tone. It can help transitions between shots, or be used as cutaways with a voiceover. And it doesn’t have to be video. Graphics, charts, animation, old photos – all can be valuable when helping to tell the story. Some lucky filmmakers have a second unit to shoot B-roll, allowing them to record the A-roll simultaneously. Most don’t, so have to do it themselves, before or after the main footage. And never be tempted to put it off, as things will change, and the opportunity could be gone. When you are faced with producing B-roll shots, it’s useful to have a go-to list. It won’t work in every case, but if you run out of ideas, don’t panic – have a go at shooting a few of our favourite ten B-roll bankers. Remember, variety is the ultimate key to success.
of details or candids. It can also include archive or stock footage that you would never be able to shoot as part of the actual film. Need a very short drone snippet of downtown New York at twilight? Or tropical fish on a coral reef? Or a sunrise time-lapse over the Yosemite Valley? Don’t think about shooting it yourself... hunt down stock footage instead. When shooting your own B-roll, the golden rule is that you can never have enough. Keep on rolling around every scene, as you’ll never know what comes in useful. Of course, the best plan is to draw up an essential shot list, but an experienced filmmaker will always record more than this. Don’t just focus on one angle. A fresh viewpoint with a different lens can give more visual interest to the scene. Look from down low, up high, with a super- wide lens close-up, or from afar with a long lens. Even from afar with a wide lens! Do focus pulls, shoot some extreme close- ups of details. It’s all valuable stuff in the
KEEP ON ROLLING Alternative angles and viewpoints can add a huge amount to your film’s production value, so make sure you go along for the ride when you can!
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