Cinematic B-Roll Video: A Beginner's Guide

1. Introduction: If you want to learn how to create beetles like this, this or this, in less than 30 minutes, you have come to the right place. Hello everyone. My name is Lambert and I'm a fifth year medical student and part-time filmmaker from Greece. I decided to make this course right here because I believe that the creation of a cinematic B-roll looks and sounds as something that only professionals could achieve. But it all comes down into actually following some very basic and simple steps which we discussed in this course right here. In other words, in this course, in less than half an hour, you will find everything that you need in order to be confident and produce your own barrels of Fannie subject that you want. We'll talk about all the gear that you need, three options and the most value for money options, we will talk about the best and most optimal lighting setup to setup all your bills. Then we will talk about smooth camera movements in camera transitions that you can actually do just by shaking your camera. Finally, I'm going to show you how to blend or may create a shortlist. So you don't have to really stretch yourself and come up with crazy ideas in the middle of the shoe. Moving on, I'm going to wear my gold or any first-person view and show you the whole shooting process of how I suit might be ruled. And finally, I'm going to launch my editing software. And we're gonna go through my whole editing process and thoughts behind the video. So I'm very happy that you're here and you actually found discourse. Join me for a fun 30-minute ride on how to create cinematic beetles with no previous experience in geography whatsoever. 2. The Class Project: Thank you very much for clicking on this video and joining me again into this journey to master B-roll suits in this course, as I told you in the introductory lesson, we will cover everything that you need to become very, very confident with your B-roll suits. In this short lesson right here we're gonna discuss about the class project that you are cold if you want to complete by the end of this course, obviously the class project is going to be the production of a biro suit. You're going to grab your camera, shoot a barrel with all the techniques that we're gonna discuss in the next lessons. Edit this based on some principles I'm going to mention in the editing lesson and upload it into the class project section of this course, try to focus on the smooth camera movements and the smooth camera transitions lessons that will follow. This will help you master shooting process of the Bureau. Also, again, the lighting and the setup that we're going to discuss about how to construct is also important to deliver the best and most optimal image. And finally, if you feel like it makes you to upload along with the video a screenshot of the shortlist that you construct it again with the way that I will teach you in the following lessons. Note that I will be personally watching and giving feedback to every single one of the Beatles that you submit. And I really, really encourage you to do so because this is a way for us to also connect. So I'm very excited to have you in this course right here. And trust me, the lessons that will come are going to be very, very valuable and they will help you evolve as a videographer and filmmaker in general. So see you in the first lesson. 3. The Gear: Welcome everyone to this first brief lesson of this course and we're going to analyze every year because you're going to need, in order to achieve cinematic B-roll. Note that in every gear piece that I mentioned in this video, I'm going to introduce you to the best value for money option that you have and a completely free option. So you get the chance to actually deliver the class project and complete this course without spending a single buck on camera gear, lights, tables, and the stuff we're going to mention in this lesson. So in this lesson we're going to mention the five main categories of gear pieces that you're going to need again, to deliver a cinematic B-roll. These five categories are the camera, a table, lights, background, and an editing software, of course, to edit the B-roll that comes out of your cameras. So let's start by analyzing the first gear piece that you're gonna need to deliver this bureau, which is the camera. Now, obviously, the free option of a camera is gonna be your phone. Phones these days have amazing camera capabilities, both in photography and videography. You can see super slow motion video in your phones. They have great dynamic range and they also have a building lens. So you don't have to stress about learning everything about lenses and stuff. Your phone is definitely going to be a very solid free option when it comes to using a camera for your B-roll. Now that being said, if you want to upgrade a bit and not use your phone and actually invest in a proper camera. I have cameras to suggest you. The first one is the Canon 200 d. This is a APAC or crop frame camera, mychannel. It should slow motion at 60 frames per second and it can be paired actually with all the pro lenses of cannon. So this is a huge plus. Now if you don't want to go with a Canon camera and other great camera that I have suggest you is the Sony a 6 thousand. This again is a girlfriend or an APS-C sensor camera by Sony. It has again, amazing video and photo capabilities and its tiny footprint makes it very, very versatile for a huge variety of different suits other than Bureau suits we're going to do in this course right here. So these are the two cameras that I would suggest you to buy, either of the 200 d or the Sony a 6 thousand. Again, the free option of a camera is your phone. If you have an iPhone and Android phone, it doesn't really matter. It is much more helpful to master lighting, for example, and how to set a beautiful background than to invest in a very, very expensive camera. Now moving on, if you choose to buy one of the cameras that I suggested you, you might need to invest in a lens in general, the kit lenses that come with those cameras aren't the best. So I'm going to just use the best value for money lens and actually have it right here. This right here is the best value for money lens for every single camera. It is the 50 millimeter F1, 0.8. Now, every single camera manufacturer usually comes up with one of those lenses. There is a solid version of the 50 millimeter, if 1.8, there is a cartoon version of this lens. This is the young newer 50 millimeter F 1.8, and it cost less than €100. This is extremely cheap for a lens that produces this image quality. And we're going to prefer the 50 millimeter F1 0.8 for our B-roll suits due to the fact that this F18 arbitrary produces this amazing blurry background that we're going to want in our B-roll videos. Moving on to the next category, you are going to need some sort of table. If you're capturing a viral video of some product, I usually tend to suit inside my B-roll footage due to the fact that I can control the lighting, the environment, and the background. So you are going to need to invest on a table. What I did is that I have bought a very, very cheap utility table from those utility stores that just opens up and closes so I can store it safely in my studio space. But again, if you don't want to invest in a table, you just find some surface to rest your parietal bone and you're done with the table. Of course, keep in mind that B-roll doesn't always have to be solved inside. And if we're shooting outside, for example, I don't know if footage of a car passing or some kids playing soccer, anything really. You of course, don't need a table. And the background, the table, the lights in the background are essential for indoor B-roll shoots. Obviously, if you're shooting indoors, we are going to need lights and proper lights are Vicki of every suit, especially Beatles suits. Now the best value for money lights that I have also invested in adults, $40 Amazon lives that have these are two lights with the diffusers. I have one always on top and I have one right there in the back. The only thing that I don't like with those lights is that they can't dim down or the map, they have one set bar of brightness. And if I had to choose, again to buy some lights, I would just go with an option that has a dimmer so I can change the brightness of the light, as you probably can guess. The free option for lights is the natural sunlight that comes, perhaps a window that you have in your studio space. Now, in general, natural light is way, way better than artificial lighting from the studio. The only reason to invest in actual lights and go with artificial lighting in your suits is the fact that we can control the lighting conditions. We can have the same exact light in our studio space for hours and hours. And this obviously can be done with natural light. The sun is setting, clouds pass with the sun and this can mess up the exposure of your camera. So if you're using natural lighting, make sure to always adjust the exposure of your camera based on the conditions of the Sun. Now the final piece of gear that you're going to need in order to successfully produce a cinematic viral video is of course, a PC or a desktop and an editing software. Now when it comes to free editing softwares, there are many, many free editing software and online you can use iMovie. If you have a MacBook, you can even edit video footage from your phone, from a free video editing application. But if you want to go and actually pay for a video editing software, I have two very, very solid options for you. If you are a Mac user, the absolutely best editing software that you can pay for is Final Cut Pro and actually have a course in which I teach you everything you need to know and how to edit on Final Cut Pro. If you're a Windows user, you should probably go with Adobe Premiere Pro, which is actually a very, very solid editing program that most Windows users choose. So again, if you have a Mac, go with Final Cut Pro, if you have a PC, go with Adobe Premiere Pro in general, the principles that are going to discuss in this course right here don't apply specifically to one of those editing programs. You can follow along the editing process, even with a free editing software from your phone. So now we have discussed about all the guilds you're going to need in order to suit, of course is cinematic B-roll, edit all the free options and the most value for money options. It is time to briefly discuss in the next lesson how to set up the lights to produce the best lighting studio environment for our B-roll, This is gonna be very, very basic and simple to follow. So I'm going to see you in the next lesson. 4. Setting up a DIY Studio: Welcome to the second lesson of the scores in which we're going to discuss about the setup of the background, the table and the lights. Now the subject of this beetle, so there's gonna be a product. So we're going to adjust our studio environment in order to be able to suit the optimal image of a product B-roll. So first we'll start with the table. Again. I'm going to just take up table, open it and set it at the middle of our studio and then visit the optional part. You can take the background and again unfold the background to cover both, of course, the background and the surface of the table. Now if you don't have a background, you can very easily make your own background just like I have done in this shot right here. In general, remember that if you bought the 50 millimeter F1 0.8 lands will be discussed in the previous lesson. You're going to have this smooth bokeh in the background. So it doesn't really matter what you positioned in it. What is really going to make a difference in the case that you choose to shoot actually without the background, to have your space as the background is the background light, which we're going to discuss in just a second. Now, after you have set up the table and unfolded the background to cover both, of course, the background table, it is now time to discuss about how we're going to set up the lights for this suit, as we discussed in the previous lesson, the optimal scenario for this bureau suit is for us to use three different light. The first slide is gonna be a top-down light that directly rests above the subject that we want the suit. And we're going to call this our main light. Now for most of B-roll suits, the top-down light is just the only light that you're gonna need. But if you really want to spice up the image and upgrade the production value even more, let's analyze the two different types of lights that are going to need in addition to the top-down light, of course, another type of light that you may need is a filler, like a filler light, light that rests on the side of the product and actually lights the product sideways. So we have the top non-life and the filler light that light the product from two different directions. And finally, the third light we're going to use is the background light. We're going to set this slide to light our subject from behind. So when our background light lighter subject from behind, it's going to produce this smooth outlining of our subject with of course, the temperature of the light that we set. As a rule of thumb, remember to set the temperature of the light bulb, lights the subject from the back to be hotter than the temperature of the top-down or the side light. So we have this golden peripheral lighting of our subject. Of course, this is completely not an essential part of the Bureau sued these two lights are just gonna make your videos look way, way better. So after we've set our top-down light, our side light, and of course the light behind our subject with the background and the table that rests below everything. Now, the studio setup is ready and it is time for us to create a shortlist to make our suiting and most of all, editing life ten times better, easier and faster. So in the next lesson, we're going to discuss how to create a shortlist and how to brainstorm new salts, new transitions, and new ideas to spice up again your cinematic B-roll footage. So see you in the next lesson. 5. The Aperture: Welcome to the lesson in which we're going to talk about the opportunity that you're going to have to set your lens to in order to have the optimal results in the B-roll footage in general, remember that lower aperture is, as we discussed in the introduction of this course, create a smoother background and give us the so-called bokeh in the background. Pretty much. This means that it gives us a smooth background, higher averages, we have everything in focus, so we're not gonna get that smooth background. The fact that we're going for in 99% of B-roll edits, you aren't going to want to have that smooth background in the back. So in general, you're going to want to set your aperture in the lowest possible value. You got your lens allows you to. And this is exactly why I suggest you to invest. This 50 millimeter F1 0.8 lens. 1.8 is an amazing and very low aperture that led to lots of light reach the sensor. And again gives us this blurry background in the back. And as you can see, the background is blurry. You can really see what's going on in the background. Of course, the 50 millimeter to foreign born eight is not the only lens I can give you a low aperture. It is though the most value for money option that you're gonna get. Some other lenses is the, for example, 80 millimeter F1 0.8 or 50 millimeter F1 0.4. But this land, god's €100 and those lenses that I mentioned right now costs €1 thousand and more. So in general, the filming setup, but you're gonna want to have, up until this point is a table with the background, a top-down light in a sideways light to light again, your product, a background light, if you feel like it again, that lights your product from the backend and creates this beautiful backlight delusion on your product. And when it comes to the camera again, you want to set it to shoot at slow motion 60 frames per second or more, and pair it with a lens with a low aperture. For example, F18, just like this lens right here. Now they've got RStudio and cameras celebrating. It is time to actually switch on our cameras and discuss about camera movements that are really the core creative principle that will make or break your B-roll edit. So this is exactly what we're discussing in the next lesson. 6. Frame Rates and Slo Motion: In this lesson right here, we're going to discuss about frame rates and the implication of slow motion in your viral video, which makes in general everything smoother, more cinematic and better. So as you may have realized for this lesson and for this course in general, we're going to choose to shoot in slow motion. Now there are many, many advantages. And actually using slow motion, the biggest advantage is that when we slow down our videos, minor handheld shakes are completely diminished, which means that we can actually shoot handheld without any stabilizers, without any tripods. So in general, remember that if you choose to shoot in slow motion, you actually don't need a Tribal, you don't need a stabilizer. So this is a huge blast, as you can see in some examples I have right here on the screen, slow motion makes videos more dramatic. It makes videos more cinematic. And it actually will enable us in the editing process to speedups and clubs after them being slowed down, which helps add onto this dramatic effect. This is called speed ramping. And we're going to discuss about this in the editing lesson. For now, know that you should 100% shoot at slow motion. We're capturing B-roll footage, and I'm going to show you the best slow motion settings for your camera. Now, depending on the camera that you own, you will be able to shoot at 60 or more frames per second. My camera, for example, suits up to 60 frames per second, but there are many, many cameras that shoot up to 120 frames per second in general, choose the biggest frame rate that your camera enables you to have. In my case, again, this is gonna be 60, but in your case, it could be 120 frames per second. This can be easily done by the settings of your camera. And a very important thing to note here is that you need to set the shutter speed off your camera to be double your frame rate. If you're shooting at 60 frames per second, you're gonna set your shutter speed to be at 120. And if you're shooting at 120 frames per second, set again, you're sort of speed do 240 in general. Remember, as a rule of thumb, this is very important. Your service B needs to be double your frame rate. This is going to help us deliver that smooth and natural looking motion blur. When again, we added and slow down our footage in post-production, note that slow motion, combined with a low aperture and smooth hand movements will help us deliver this amazing result that we're looking for at B-roll footage. So in the next lesson we're discussing about the aperture of the lens and everything you need to know about combining it again with slow motion and cinematic movements to have the best results in your B-roll. 7. Smooth Handheld Camera Movements: Welcome to the camera movements lesson. This lesson again is really the core of any Beatles shoot because really in those smooth handheld camera movements is where you can differentiate from other filmmakers in your B-roll. So in this lesson right here we are discussing about five different camera movements, five different handheld camera movements that you can implicate in your barrels that will differentiate you from other filmmakers. And again, we'll spice up your bill videos to the max. The first time in a movement that we're going to discuss about is planning towards and away from the subject. This movement can actually be done in post-production artificially, but it is always better to do it hand-held. Usually the padding towards and away from the subject salts are used as the first or last shot of the B-roll, give the fact that they are revealing shots during those salts we can see the whole subject. So I always tend to incorporate one of those banning towards and away from the subject salts in every single one of my B-roll shoots. We next shot we're going to discuss about is the panning shot. During the panning shot, you set the subject in the middle of your frame and you circle it with your camera. And if you combine this with actually slow motion, you have this beautiful smooth sliding image that looks very, very, very cinematic, especially when slowed down. Most of my B-roll salts are actually banning salts in water, just circling and the subject with my camera and slow it down. In post-production, those binding sites are actually going to take the most space in your shot list. As again, it is one of the simplest shots to achieve and it delivers one of the best results. One beautiful thing with the banding is the fact that it can be done in many different focal lengths. So again, this spanning with this circular motion around the subject, combined with a wide variety of lenses, can give us a wide variety of different visual results. Next, we're going to talk about a very cool and simple shot to achieve, which is the focusing and pooling the focus away from your subject. To achieve this shot, you fix your camera and have the subject focused in the middle of your frame. Then set the camera to manual focus and just pull the camera away from the subject. So basically during this short, we combine the first saw that we analyze the banding towards and away from the subject, but we just pan away from the subject. And as we've been away due to the fact that have disabled the autofocus mode of our camera, the subject smoothly comes out of focus. So these are the four camera movements that I wanted to analyze in this video. Again, we have the panning forwards and away from the subject, the banding in a circular motion around the subject, focusing and then pulling the focus away from the subject. And then again, setting your camera into a tribal than recording a dam second video of the subject, which we're going to manipulate later in post production. Now that we've talked about the most important movements to knowing your B-roll edits. In the next lesson, we're going to focus on transitions that can be done handheld with your camera. Basically, handhelds transitions, which are pretty much creative ways to transition from one clip to another, from one scenario to another using just handheld motions of your gum. So this is what we're analyzing in the next lesson. 8. Handheld Camera Transitions: In this lesson, we'll discuss about again, handheld transitions that you're going to see with your camera without the help of any editing software. If you literally import the clips from your camera to your editing software and let the play head played, you're going to have a smooth transition. Now there are many, many handheld camera transitions that you can achieve, and there are actually many that you can come up with yourself. This is a very creative field. In this lesson, I'm going to focus on three different handheld camera transitions that again, I always use in my bills and you can use very, very easily. The first transition can be achieved by banning the camera into a black space, panning again in the next slip away from that black space into the next scenario. So if you had the camera right here, you would ban fastly somewhere in which the frame would be black. And then in the next clip, you will start from the black frame again and bound to the next angle that you would like to shoot. If you do this fast enough, it will look seamless and very, very smooth. Note that you don't have to find a black surface due to the fact that of course, if you stick your lens to any surface, it will look black because no light will enter, of course, the lens. So for example, the first black surface could be the bottom of the table and the second black surface could be your camera being on top of the product and then you just pan backwards to reveal the new angle. The next handheld camera transition that we're gonna discuss about can be achieved through shaking the camera at the end of the first clip and at the beginning of the sedentary. But you want to transition into by shaking the camera at the end of the first clip and at the beginning of the cleavage want to transition into you create a natural motion blur, which of course distorts the colors of your videos. And this is perfect to transition again from one clip to another. It sounds pretty complicated, but trust me, it is very, very easy. You just shoot and then pan and then pan again. In this second shot, this again shaking and banning transition is very easy to implicate and you can combine it with the previous type of transition that we talked about with just a black simple surface. Note that all of those handheld transitions will be discussed in this lesson right here, if combined correctly with the music and the vibe that you're trying to deliver in your B-roll will make your video look way, way better. Trust me, ending the post-production editing lesson, I'm going to show you actually how to combine them with artificial post-production transitions to again, make the best out of this. The final type of handheld transition that we're going to talk about is this same color transition as the name. Of course, if this transition type suggests, the same color transition can be achieved again by ending the first clip in a specific color and then beginning the clip that you want to transition into with the same color. This is a bit difficult for beginners. It is way harder actually. Then just checking your camera or transitioning from a black dark surface to another dark surface. It is very unique and you can actually perfect this transition by editing and changing the colors in post-production to really match the same color from one clip to another. So again, keep at the back of your head that this transition type is not the easiest to achieve. But I just wanted you to know that these transitions exist. You can totally achieving with some patients. So we're pretty much done with everything that there is to know before we actually start shooting our B-roll. So in the next lesson, we're going to show you from start to finish in a first-person view how I shoot my B-roll and all of my creative process before we actually grab all of our videos and import them into our editing software, which is where the real magic happens. So see you in the next lesson in which I'm going to show you my whole bureau creative process. 9. Creating a Shot List: Now that we have set up the table, the background, and the light before we actually grab our camera and analyze all the different feeling techniques, filming movements, frame rates, and all of those other cool stuff. It's going to make your B-roll look way better. It is actually time to step back and create a shortlist. Now if you've seen some other of my courses, you know that I'm a big fan of shortlist because in general, shortlist help you make up your mind, brainstorm new ideas and during that bureau so you can have many things in your mind. So it is very relaxing. Doesn't have a list with the salts that you want to take in order to brainstorm different shots for a bureau sequence, I use this circle and lines brainstorming method. When it comes to the circular lines brainstorming method, you take a piece of paper and a pen and write the key concept of your shoot. Then you connect anything that comes to your mind with a line to that key concept. For example, in this case, they're taking a video of a product. I'm going to write the name of the product in the middle of the paper and then connect with lines. Anything really that comes to our mind that is associated with this product. This could be, for example, the word shiny, fast movements, background, light, literally everything. If you follow this brainstorming method, you will notice that as the time passes and as you can add more lines to your central idea, more ideas will come to your mind and you will find more creative ways to suit the Bureau of this product. So after the brainstorming process, it is time to create the shortlist as every law firm for viral videos that are not that long, I would suggest you to have at least ten different shots from different angles in order to have greater freedom in the editing process from those ten shots, we want the first and the last shot to be a revealing shot in which we can see the whole product. So this leaves us with eight different camera angles, eight different sorts. To get creative, note that many of those salts will be combined together with built-in camera transitions. But we'll discuss this in becoming a movement less than that will come. Another note is that in general you don't have to be very specific and very strict with your shortlist. Just write down some general ideas and some general camera movements that you can wanna follow during the shoot. One thing that will 100 per cent help you very, very much is to actually know the song that you're going to use in your editing time before you actually start to sue. If you know the song, before you actually grab your camera and start shooting the product, you will find it very easy to combine your movements and brainstorm all of those salts to match the tone and the vibe of the song that you're going to use. Something that I'm going to use is called moth to a flame with the weekend. I think it's going to match the tone and the vibe of the B-roll edit that I want to deliver. So this will actually help me combined with movements and plan my salt least according of course, to the tone of the song. So this is the basic way to brainstorm a shot list. Again, we talked about the brainstorming methods, these circles and lines, brainstorming method. Then we talked about how it is very important to actually know the song before you actually start writing down different camera angles to use in your B-roll Edit. Now that we're done with the solid list, is actually trying to grab our camera and talk about the frame rates, the aperture, and different camera movements that will help us in our bureau. So in the next lesson, I'm going to talk about frame rates and how to actually implicate the slow motion effect in your B-roll edits. 10. The Shoot: Welcome everyone to the final shooting process of the barrel. In this lesson right here, I'm going to show you from a first third person view, the whole shooting process around the editor we're going to create in the next lesson in which of course, I applied all of the key points that you mentioned in the previous lessons. So the lighting, camera movements, camera transitions, all of those are applied in the shooting process, of course, that we're going to analyze in this lesson. So as we said in the shortlist, we already know the song that I'm going to use for this beetle edit. The song that I'm going to use is mostly flame with the weekend. So again, as a note, I tried to coordinate my movements and the vibe that I want to deliver, Of course, through this B-roll Edit with this song, more of that on the editing lesson that will follow. Now in the shortlist I mentioned as a first shot to be a revealing shot of the product. I modify this a bit in the shooting process, and I combined the first shot with the sequence that follows, which would be a light sequence. This gave me this result of a light sequence, which as you can see, I sold just like placing the product in the middle of the table and shining my flashlight around the product. And of course, the final shot of the slide sequence was a revealing shot of the product. To achieve this cinematic light sequence is very, very simple. You just place the product at the middle of the table. You lock focus and you switch your focus on your lens from autofocus to manual focus. Then you grab any type of flashlight, turn it and twist it around the product again, great, this fast illusion of light. It is very important for the sequence to work. To again start with no light in your product, then shine the light, and then again, end the video with no light. If you do this with many, many different shots, you can see that in the editing process, when we combine them all together, the transition is going to be very smooth between them. In a sense, there's going to be the same color transition with the goal, of course being black. Another thing that you might want to consider in order to achieve this slide sequence is to use a tripod. Of course, you need your camera to be stable at 1 and again, be focusing mode of your lens needs to be on manual focus. Next, I decided to shoot myself in a first-person view, Building the key inside the product. In order to do that, I just grabbed the camera with one hand, grab the key with another hand, and just did a lot of tries to try to place the key in v key holder. Now, obviously it is very hard while keeping the camera to nail the key in the lock. So one thing that I have to give you here is that in the editing process, I will reverse the clip and I will just reverse the movement in the shooting process, this means that the camera will start by facing the table and then upwards. And it will have my hand touching the key inside the Kellogg and then just take it out of the kilos. But when we reverse it in the editing process is going to seem like I actually nail the key in the key lock. This might sound a bit complicated, but trust me, it is very easy and we're going to see this in the editing process in the next lesson. As you can see, the salt with Vicky ended in a gray color. So I'm going to transition with the next clip being of course, a handheld transitional be applied in the previous lesson. So the next slide is going to be again, a handheld transition that starts in a gray surface. So again, our bureaus would have some float. The next sequence is going to be a sequence in which I sold the exterior of the product. And these are just some very basic salts of the exterior of the product. Some movements again, the circular panning motion, some planning and some movements with the focus of the camera being set on manual focus. So the product is gradually revealed in the frame. And again, one thing to nail, same color transition is to just try and film the same shot many, many times. So you have many options to choose from in the editing process. In the next sorting, which I saw again, the outside elements of this box. I tried to make this a bit more special and I wanted to add actually a reflection. Now, it is very easy to actually add reflections in post-production editing, but I wonder this to be generic. I want this to be made manually. Now there are two very easy types to add, some sort of reflection and make your videos more interesting. Adding depth, of course, your image. The first way is to grab any type of glass. This could be a bottle or a wine glass and just place it in front of the lens. Your camera, if you're shooting with a open, arbitrary very low aperture, this will look like you add depth and we will introduce some interesting reflections in your shot. Another thing that you can do if you don't have a wine glass and stuff like that, is that you can just take your phone and try to find the perfect point in which the subject reflect on your phones surface. Stick your phone again in front of the lens and boom, you have this amazing reflection. Again, as I note, tried to shoot everything in slow motion, even if you don't slow it down in post-production, it will be very helpful to have the option to slow things down, keeping the back of your head that if you don't shoot stuff will slow motion again. We can add post production stabilization in enclave that we want. Finally, as we mentioned in the shortlist lesson, I want to and my bureau with an establishing shot, I want to end my middle with a salt in which the viewer is of course, see the whole of the product. So this is exactly what we did in the final shot of our B-roll. It is the sorting which I also introduced the human element into the B-roll. I put my camera on a tripod. I stepped in the set and just place the product in the middle of the frame. Don't be afraid to add the human element in your beetles. And even if you don't have another again, you can just place your camera on a tripod and try to do this yourself. It is very easy, and I do it in most of my B-roll suits. So this was my shooting process of this B-roll. Remember that you don't have to strictly follow my guide when you're shooting your B-roll. I just wanted to inspire you, give you some ideas. I wanted to introduce you to my filming techniques. And if you grab some of the best stuff that I taught you in this shooting lesson and just sprinkle them in your style. This will be the optimal result. So make sure to implement the things that you learned in this lesson in your bill suit. But don't be afraid to be creative because this might actually make your bills way better than mine. Now we've got all of our salts ready. It's time to import them into the editing software. Combine them with the song, color grading, sound effects, transitions, and slow motion, and really polish our B-roll. So see you in the next lesson, we're going to talk about the editing process of the B-roll. 11. The Editing: Welcome to the editing lesson. In this lesson right here. First of all, I'm going to show you the final beetle that I edited. And then I'm going to explain to you step-by-step how I achieved it and what interventions I did in every single one of the clips again, to have this awesome result. So let's actually watch the final product. So we're going to start, this is our timeline right here. This is my final timeline of this project. The first shot, I chose to keep as completely dark, completely black because we gradually are going to reveal our lighting sequence that we shot. The first shot is again, as you can see, this completely black box. And then we start with our first clip, which is this part of the lighting sequence. I chose the path in which the key lights up. It's pretty mistake. We don't know what the product is up until this point. And as you can see again, the flight stops and we transition to a black screen. And the next clip starts from this black screen in which we introduce the viewers to the product. So this again is the revealing shot that we discussed earlier of the product after the first revealing. So this was the point of the video in which the music ramped up. And I wanted this part to become more dramatic to show to the viewers that this is the midpoint of the B-roll and this is where the cool stuff happens this way again, in the shooting process, I came up with this team, the Kellogg idea. Again, this was reversed and it looks like I completely nailed the key in the key role after it gets inserted into the key role, notice how the camera moves down to reveal this gray area. And immediately the next clip transitions from this gray area to this again, B-roll of the product. So this pretty much a way to transition from this fast-paced edit of the key, going inside the key role to the second part of a beetle, which is the outside elements fast gut in the sequence of the beetle which we sold the outside elements. As you can see, these are just fast gods of pretty basic salt that I got from the external elements of the product. After that, another transition, which is gonna be from the color grade, is going to be in the category of same color transitions, is going to show us the inside of the product. As you can see, I just again grab the camera, placed it inside the product, and moved away to reveal again that this is a log and other cereal box. And at this point, this is where I added my first post-production transition, a transition that wasn't made by, of course, my handheld camera movements. It was done completely artificially. There's gonna be this light flare, this light beam transition from again, this scene to this scene, I chose this light leak transition because in the next scene, as you can see here, we have this reflection made from my phone. So I felt that these, so I thought that the vibe of the transition and the reflection that this next shot. So again, when transition to this new part of the beetle, which we saw this back side of the product. And then with a rough God, we see the final rebuilding shock in which again we add the human element and we introduce again the viewer to the whole of her brothers. Because as we said, it is very important to either start or end, both start and end. The Bureau issued with an establishing shot of the whole product. Now they have analyzed how I constructed and how I edited a role. So the basic salts of this edit, it is time to dig a bit deeper. As you can see up here, I have this huge clip, which is actually those two lines that you see above and below the clips. This is called the letterbox, and it is very easy to implicate it to make your videos look better. The letterbox or just those two cinematic lines above and below your clip. And you can just search on the web letterbox dot PNG. There's gonna be a transparent image of the letterbox. Drag and drop it into your timeline. And everything is going to look a bit more cinematic, a bit better if I disabled the droplets, you can see it just doesn't look as cool as it does with the Dropbox. So step one to improve your videos, add the Dropbox. Step two is to add some sound effects. Now, I didn't do any heavy editing into this project right here. This was done very fastly, of course, for the purpose to demonstrate to you guys how I basically do the stuff and these right here, as you can see, all the sound effects that I added below the song that we used. The first sound effect is a goose sound effect when the key drops down to the Kellogg, I wanted to make this more dramatic. Li added three more sound effects in every single transition that was applied into this editing clips. As a rule of thumb, remember that if you don't know where to use sound effects or if the product that you're using doesn't really inspire you to use any sound effects. Try to add a sound effect in each part of the video you transition to. For example, in this clip right here, you can see that I added a new sound effect in this point, which is of course a handheld same color transition as we discussed, I actually added a sound effect right here, which is again a handheld same color transition. And the final sound effect was added here in this, in this lightly transition. The final thing that I wanted to point out is that as you can see, the song was trimmed down to my preference. This is not how the producer, of course, produced the song. The song was of bigger length and it had different segments. I actually kept the song to match with the length of my B-roll. It is a huge blast if your B-roll Edit and with the correct part of the song, as you can see in this case, the video fades away in a part of the song, which also fades away in this adds again production value that the viewer can't really point out and say, yeah, this is why I like the video, but in general, it will create a better sensation to the viewer. So this was my thinking process when I broaching the editing again of this B-roll suit, I hope that I taught you some stuff into this editing video right here, which you didn't know. We talked about the implication of slow motion. We talked about how the letterbox panel actually makes her videos look better. We talked about some basic principles of sound effects and transitions and music. And we're going to see you in the final thing of this course. 12. Thank you note: So thank you very much for blank full-out and watching. Up until the end of this course, I am really excited to see The Beatles that you are going to produce with, of course, all the things that you learned through those lessons. And again, note that there isn't a specific guide or a how to those creative fields of filmmaking, photography, and again, video creation. All you can do is just watch more content, get more ideas, get more inspired, and just grab your camera, go out there, shoot, edit, and repeat. Once again, I would like you to know that I will be reviewing every single one of the edits that you submit, and I will be giving feedback to again, every single one of your videos. So thank you very much for joining me up until the end of the scores and I'm gonna see you in the next course.