Introduction to B-roll & how to add it to our video in Premiere

Hey everyone, it's B-roll time, we've talked about it before, but in this one we'll go into a touch more detail, because what I want to do is I've got this kind of first visionary look, looking at the city, close-ups, and then I kind of just jump into the street, and what I want to do is have something to help carry the transition across, between those two spaces I'm going to use clouds. So we're going to try and tie it together. We're going to slow down the clouds, we're going to color correct it a little bit to try and blend it in. We'll talk about places to get inspiration for B-roll. We'll talk about what B-roll is, again, let's jump in. 

So just a quick recap, B-roll is not your A-roll. A-roll is the main focus of the film, so at the interview, let's say, or, yeah, the kind of the main focus of it. B-roll is any kind of thing that supports it or just supplemented to it. It's not absolutely essential for the course. It just helps make a cohesive story. A pretty good example of this is, the "Miss Donut." Let's have a little look at the interview, so this is the main-- "We work, well we live and work here on Maui. We opened our store about seven months ago." So there's an interview, her discussing lots of things, she's asked lots of questions, but then the final edit, which is not my edit, let's have a listen, it's the same kind of dialogue, but let's have a look at the video. 

"I'm Madame Donut, and I own Donut Dynamite, with my husband. Well, we live and work here on Maui. We opened our store about seven months ago, in the town of Waikuku." So you can see, it is-- the interview's underlying it, and they do cut back and forth from the interview throughout this, but there is a ton of B-roll. I'm just kind of scrubbing through it so you can see it, but that's happening all the way through it, but then they cut out to this supportive material B-roll. So in this case it helps tell the story. I use it quite often to cut out my bad edits. So I'll be trying to do a whole length of dialogue, and I'll just mess it up. 

"Absolutely…” Watch. “…and work our way through step-by-step. We'll start with the techniques that you'll need…" So instead of having a really bad cut where I kind of go "um," I cut out the um, instead of doing another cut, I just put it over the top of, kind of an example of what we're doing. Here's another example, so me talking, always great faces. So me talking. "…on mobile, on tablet, and on desktop. We'll build four sites…" See there, I just cut to, like I drew this on my book to kind of have some B-roll to go over the top of it. So I shot my own B-roll, I am not good at B-roll, and I really want to get better at it. 

In terms of inspiration for B-roll, check out-- the two people that I'm trying to kind of lift my game with, is a guy named Peter McKinnon, and Daniel Schiffer. Both of these guys, they seem to know each other, but their B-roll is amazing, and I just want to take some time out soon and kind of-- this one is a B-roll challenge that Peter did. You can see, it's kind of telling the story about-- around where he lives. B-roll. Same with Daniel, he, Wow's this. So go check out them, they've got lots of stuff on YouTube. I've got links in your Links to both of the YouTube channels. Go subscribe to both of them, tell them Dan Scott sent you, and let's talk about the reason why we have B-roll in this particular exercises. 

Mainly because there's a weird transition between this guy, doing the whole looking at the city, thinking thing, to him walking. I want there to be a bit of a better transition across. Some sort of passing of time because he just kind of appears on the street. The reason we're doing it is we don't-- we're going to go out and find our own B-roll, which is not ideal. We're just one of those projects where we need to find some of our own, because this particular-- we just don't have much footage in our cut down version. So in our-- where is it, Exercise Files, we just don't have a lot. There wasn't a lot taken of actual B-roll. There's a lot of him jumping around, which is cool, but not a lot of actual B-roll. 

So in here, you can see, we've only got a few, not a lot. There's some walking B-roll, which is cool, we've already used it, as opposed to, let's see this, the Madame Donut one, check out the B-roll in this one, we've looked at it before but look at, Part 2 B-roll, look at that. That's just one of the sections of B-roll. So yay for them. We had so much good stuff to go through and edit this one with. So yeah, some projects will come with lots of B-roll, some will come with very little. Because we don't have a lot of B-roll, remember, and we-- I still want to find some, we're going to have to find something generic. 

What I did was, decided on some clouds. He's kind of like looking up at the clouds, and he's walking. Bit of a connection between them. Clouds are easy because nobody can really tell if it was shot on the same day or a different day, at the same place. I went through and found a bit of clouds that kind of resembled what was going on. I was looking at kind of the scenes in here, to make sure the day wasn't too different, and then grab these, like he was looking straight up. I downloaded it, and I've got it ready in your exercise files. 

It's actually-- you should have already imported it. It's under Footage, and it's this one here. So I want to open up a gap. I don't want to mess with my timing, because I spent a lot of time in getting the music going over here. So what I'm going to do is, this Lamp 4 for me, is particularly long. So you're working on your own one, just find a space in here that's not the jump, because we spend a bit of time trying to time that. So I've got my clouds, what I'm going to do is I'm going to need another-- what can I do? It's going to be easiest to add another track, so that we can match it up and then sneak it in. 

So we're going to right click anywhere on this right hand side here, we're going to say 'Add Track'. Make sure we're doing it for the video side, and then I'm going to go, you, and I'm just going to trim it up. So I'm going to slide along, make sure my S key is snapping. I've turned mine off in the last video, remember. So if you want-- it's not snapping anymore, tap the 'S' key, and that's just kind of how I'm going to go. "…blowing my mind that some people can jump so far." Awesome. 

Couple of other things, I want to match it a little bit nicer, the clouds are probably moving too fast. I want to kind of retain the slow-mo that's going on in this first bit. So I'm just going to slow it down, I'm going to lift it out of the track. So when I mess around with it, so right clicking it, 'Speed Duration', it's maybe half the speed. It's going to get longer. I'm just going to tuck it up at the end there. Not particularly worried about what's actually on screen, let's have a look. "…blowing my mind that some people can…" Nice. 

The other thing is, is that it's quite different in terms of the light. So this one here I'm going to have to select on it, and try and Color Match, or Color Correct for these other videos, so I'm going to select on it. You might just find that there are actually, a different part of-- there's quite a long clip, actually, now it's all very similar. I forget that. Let's have a look at some color correction. So 'Basic Correction' under 'Lumetri Color', I'm going to go, start at the bottom and just kind of try and match it up. Really needs to get brighter. I bet you Exposure is going to be the best one for this one. It feels like a better blend across them. We're going to use some Luts at the moment to kind of put something across of them all, to try and tie this one with this one, with this one. Get them kind of close, but then we're going to use some sort of creative Lut or Look to kind of blend them together. 

So a quick little look at the clouds, let's turn the Basic Correction 'on' and 'off'. That works for me, but let's go and try and tie them together with a Lut or Look, if you remember what those are. We'll do that in the next video, let's go.