Adding B Roll to the Edit
So now let's talk about dropping in the bureau so we have their arrangements that we want. Now the bureau's job is to just support the story, so I'll go into it in the edit. But that's the whole point of Bugle and don't just randomly place things here and there because you had this amazing shot, although sometimes that's dumb. Things like this is amazing shot. It won't include it, but it doesn't mean anything. So, um, that's what be roles for on then, like I was telling Josh, it can also strategically cover jump cuts. So when you have things that you're piecing together, some some talking points that you want a piece together, they're from different parts. Um, it's one way to make it look like it was all said in one sentence. So it's one way to cover up those cuts. All right, so now let's go into dropping in the B roll. So let me go into B roll. Here we go. So bureau is for me. It's hard to choose what to drop in, but there are points where it makes sense. It's clear what the B roll sh...
ould be, and then there are other points where you know, you know, it could have been any of the things that we shot during that day to use as B roll. So the good thing was, I had a lot to choose from. Bad thing was, I had a lot to choose from. Um, so here we have some B roll I threw in and let's hear a little bit of what Martus is saying the design in extremely wide range of product categories, we have new attack. That's very big. Right now. We work in luxury goods. Were working cosmetics. We work in baby products, pet products. It doesn't really matter what you come up to us with. As long as the technology is someone figured out, What we love to do is to put so there She was talking about some of the things that they worked on. So I did want to include what were some of the things that they worked on, and the current project that they were allowed to show at the time because they have a lot of the thing with industrial design is they have a lot of nd A's, and they're not allowed to show things so we had to be very careful and be picky about what we could show. So you always have to be mindful of that. Um so we were allowed to show thes thes headphones here in them designing it. And so as Phanom is talking about it, I decided let me drop in some B roll. Teoh really emphasize what she's talking about. And so the way I dropped it in is let me see where that B roll is. Um, so I think this was one of them. So here I picked I think I picked her out this part here and then Just like any footage that you drop in, you just select it with your in and out brackets, and then you couldn't pick it up and then drop it into the timeline. And I don't know if you can see a lot sometimes See that how there is a cut. There s so if he or if she was talking and I wanted it to look like a continuous, I thought I would probably move that B roll to cover that cut, so kind of, you know, move it there so that you hear them talking and but you don't see that there's actually an interruption in where they're speaking. Um, so then, uh, yes. So all I did was they watched the story, the basic, the basis that a role, the bottom. And then I went through the footage that I had here, and then I dropped in where it made most sense. So here where it's childhood influences, I and Flom talks about Paris going in Paris and, you know, leather goods and, you know, really knowing about fashion. This is where I brought in all the leather goods that she makes. And I dropped it into the timeline here and then showed her in her space. And this is her speaking. And then I did the same thing for for Marta's. So I dropped in that b roll. Um, so she's talking like play that that I try to help create that mythology that comes with branding a product, my history. So he goes my history, and Martus is talking, and then so I decide todo him. You know, I was pouring concrete foundations with my father. Uh, you know, hopefully that wasn't child labor, but at the age of eight and by 13. I was on roofs, putting roofs together and building houses and whatnot, and that kind of kept that interest going to construct things. An engineer things So So yes. So that is the process of dress. It goes much faster was your once you have your story shaped, everything else goes so much fasters, and it's actually a lot of fun. You get really creative. What you drop in and out. Um, so that's that is one exercise that I kind of choke up, and then I kind of walk away a little bit. It's a lot of walking away. Come back, um, and then see if whatever I added in made any sense.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Create a video entirely on the iPhone, from shoot to edit
- Master advanced video apps on the iPhone
- Learn how to use iPhone video accessories like gimbals and mics
- Build a story arch and shot list for your film
- Capture pro-level audio in an interview
- Shoot supporting b-roll
- Master iPhone video editing using apps
- Record and add a voice over
- Export and share your video
ABOUT CIELO'S CLASS:
Who says you need expensive video gear to create movie magic? In this course, Cielo de la Paz breaks down capturing effective and high-quality films with gear that can fit in your pocket -- the iPhone. She’ll walk through the importance of pre-production and crafting your story ahead of your shoot. Learn how to use a variety of iPhone video accessories and apps while exploring the technical side on how to get the best shots.
By going in the field with Cielo, you'll learn to navigate real-world scenarios, from problem-solving to prioritizing your shot list. While the iPhone may be a smartphone, she'll walk through every element of capturing pro-quality video from a simple device, from recording audio to using add-on lenses. Capture shots that make the videographers with the bulky cameras jealous by using the iPhone's small form factor to your advantage.
But the iPhone isn't just a video camera -- it's a powerful tool for editing videos anywhere. Cielo will then take you back in the studio and walk through one of the best video editing apps for iPhone and iPad out there while explaining how to piece together your story into a cinematic success. Add your own editing style to raw footage to create a story worth sharing. There is a lot of magic and ability in the camera that is always with you -- learn to use its capabilities to capture and create great video.
WHO THIS CLASS IS FOR:
- Beginner to intermediate mobile filmmakers
- Beginner filmmakers
- Social media influencers
- IGTV producers
- Beginner to intermediate vloggers
- Anyone interested in making videos with their phones
iOS apps LumaFusion 2019, FiLMiC Pro, and Hyperlapse
ABOUT YOUR INSTRUCTOR:
San Francisco-based mobile filmmaker and photographer Cielo de la Paz first found success with a Shot on an iPhone billboard. Since then, Cielo has been teaching others to find the same success using just a smartphone. The founder of TheStoryographist.com, Cielo teaches iPhone film and video classes at Stanford, as well as sharing techniques at conferences, private events, and even with government agencies. Over the course of her online and in-person courses, she's helped thousands to capture their own stories using the simplest video gear. Along with those Shot on an iPhone billboards and commercials, you can also find her work in Business Insider, USA Today, National Geographic, and House Beautiful. Her creative approach to iPhone filmmaking helped her earn the Gold Cannes Lions Award, as well as honors from the Mobile Photography Awards and iPhone Photography Awards (IPPA).