Filming Cinematic B-Roll (Behind the Scenes + Shot-By-Shot Analysis) | Arnold Trinh | Skillshare

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Filming Cinematic B-Roll (Behind the Scenes + Shot-By-Shot Analysis)

teacher avatar Arnold Trinh, Marketing Director, Artist, Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro Trailer


    • 2.

      Cinematic B Roll On Field


    • 3.

      Shot By Shot Analysis


    • 4.

      Putting it Together


    • 5.

      Final Video


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About This Class

Are you interested in crafting a better film using B-Roll?

Join me in Hawaii as I take you on a behind the scenes look of how to shoot cinematic B-Roll for use in your video work. We will go through the thought process behind how shots are taken and learn how to emulate those shots. 

By the end of this class you will be comfortable with B-Roll that really sets the scene of your environment. 

This course contains:
•Behind the scenes 
•Framing techniques
•Subjects to film
•Sequence Scripting
•Lighting advice

Meet Your Teacher

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Arnold Trinh

Marketing Director, Artist, Designer

Top Teacher


Hi friends, I'm Arnold and I've been a professional creative for over a decade now! I'm happy to be here creating content for you to learn from. 

I'm a commercial content creator by trade with an emphasis in the branding, marketing, and advertising world. Professionally I've worked with brands like Walmart, Lululemon, Timberland, and (many others) to create powerful and engaging advertisements to help better market their products. 

Over the last year I've gotten involved deeply with Web 3.0, Artificial Intelligence, and Content Creation. I share all my latest thoughts / learnings on Twitter.

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1. Intro Trailer: Hi. Today we're gonna be talking about how to shoot cinematic b-roll shots here in Hawaii. Now Bureau scenes are very important, whether you're doing it for your client where, or for vlogs or for any video production work that you're doing, it's important to capture everything that is going on around so that it builds a scene for your audience. Do you understand the now in this video, I'm going to break down how I go about and shoot how I go in frame my images and what my thought processes are as I'm going and shooting t rho shots. So if you're ready to begin, we're going to go to a beach in Valley. And we're going to shoot all the beautiful things there to put onto our B-roll. So I'll see you in next video. 2. Cinematic B Roll On Field: Hey, welcome to the island of Maui. And now we're going to start off by talking to things you need to consider while he goes. You. First of all, we're going to talk about my favorite part, which is the water. And the first thing I notice about the water is that the texture of it when it's currently like what the sun is doing to it is it's bouncing off a certain way and like illuminating the back. And there's so many different things that happened when the sun hits the water. That makes it look super, super good or just brings it out in different ways. So first of all, we're a little bit of water and then we're gonna go and shoot it. Now the next thing I consider two are the things that I see around there. So right now around here I see this big tree and this tree and the water and the way the sun is hitting it right now has this symmetry of color that works really well with it. So particular to this, this green has brown. It's such a good color combination that along with the sun warming up everything behind us. Such a good scene because it's all worked so well together. Now, if you look at the water, it's not like a twelv o'clock afternoon water because 12 o'clock at noon, the light would hit it so harshly that that would be very exposed differently than how these trees and these branches would be. So when you shoot it at a time like the afternoon and the exposure is, is off. That makes for a very contrasts the images error that makes for a very contrast, the image that ends up not looking perfect. So at this current moment, most names are, for the most part, exposed the same rate or takes a similar exposures and don't shoot them seeds here are this, and I try to capture everything by hand using the tree is open to everything that is with a tree in around the tree and the branches. It has all these different colors that work well together. So let's go do that. And when you're at the beach, you can't forget the same for one of the most important things here. So we looked the same. When I look at, when I look at scene as I see the texture, I look at the texture and I think about how this sector is, how the composer of it is right now because, you know what's disturb saying? Like when do you make an imprint on it? It changes. But this is like clean, fresh scene. That domain just came and the wave just came in, sting feed up. So I take that into account and then I tried to shoot flat you Kathy, that if this current moment like I can see here now, the water is coming down, coming in, so it clears out and flattens out the sand layer. Now the final thing to take in mind is we're an island. So when you're on an island is doused BY other islands unless you're the only island there. But in our case there are several islands around us. So I want to capture that island as well because as I'm here and as I'm setting the stage for everyone, I want to be able to show that there's an island back there. And so were you achieved that? And when I look at that island, I'd try to consider how I could frame it using the trees. And the trees are the closest thing to us, a fair mad and framing it with the tree and then how that lays out with the sun and the exposure. So when I go and look at this island, I tried to consider what to frame it with because there are trees in the back as you noticed, these trees and how the ocean is, I tried to consider where the ocean line is and where my tree starts framing it. So it's going to shoot this. Selavy. He does things in my own ego and shooting. He should be free set on cheating and tapping the awesome Bureau around you. 3. Shot By Shot Analysis: Okay, this section is the shot analysis section where I break down these shots, discuss how you can frame a similar shot you this and what the thought processes were behind how these shots came about. Okay. So this first shot is of the ocean that covers the water, shows where the water level is. It shows the clouds, and it also highlights the scene in the back. This was framed with a third rule composition, which as you can see, that the water is the bottom third of the scene, and the clouds to the second third of the scene. And finally, just the sky as the last third of the scene. This makes for a good B-roll shot because it doesn't take over the complete attention of your audience while still communicates what is going on with the shot. Okay, in this shot, you'll notice two different things gone on and panning up. And at the same time, I am framing the shot to cover the water, the wet sane. And finally, the same that is partially dr. Now this is very similar to last shot as well, where I framed it with the third rule of composition. And this is just a very popular and almost universal rule of how you should compose your images. Because it's really breaks down her images into a way that is very appealing to visual sensors. Alright, now, what this shot, I strayed a bit away from thirds rule. But as you can tell, there's another element in play, which if you look from the top left to the bottom right of the shot, you can see that there is a diagonal cropping of the water line. What this does is it shows that there is just two different layers that's going on. And also seeing the water move and creates a interactive element to this whole scene. And also showing the recently smooth in sand from the water gives the audience a feel of what is really going on here. The audience is able to understand that this is a not strong, powerful, short break wave that's coming in, is actually just calm water brushing up on the scene, smoothing it out, and creating this whole relaxing feel to the environment, which is exactly what you wanna do to communicate, to show your audience and viewer What is going on. Because B row as the set the scene, we're talking about shooting the foliage, which is essentially the trees, the leaves, and the things that are green in this shot. So with this shot, I wanted to highlight and show that right next to the beach, there's this giant tree there that you don't typically see. And that lets the audience know that there is a big thing here, so it's not just a flat beach. And asked this shot is progressing, you see that the camera is panning from the bottom-left to the upper-right, showing like the entire body of the tree because it starts off in the trunk. And as it moves up, you can start seeing the branches extending out. You can start seeing leaves and branches. And it shows the ocean more as well. So encapsulate everything that is going on. And it shows that the street is literally right next to the ocean. They can climb on that you can interact with and that you can feel. Next, I'm actually going to go up closer into the tree to show different elements of it. Okay, so now that we're showing a closer up detail of the tree, I'm shooting this branch here. And as you can tell, it's very brocade out, which essentially is having the background really blurry and the main subject be in focus. And the way to achieve this effect is to have a low f-stop number. Or in this case, actually zoomed in a lot because I didn't have a low f-stop lens. Instead, I just zoomed into 105 and created some distance between the background of what is in focus and the subject, which is the thing, the branch that is in focus currently. Now, i put off three shots of this into this one section because they are essentially a similar shock. And what the purpose of the shots are to do is to highlight and show what the details are of that tree that we essentially just shot of these exons beforehand. And like I said, the main goal of B-roll and especially having cinematic bureau like this, is to support the a role, support the narrative that is going on. So we don't want something that is completely distracting the audience's attention from whatever message that you're sending. But what you want to do is to create the scene so that the audience understands and feels and is there to see what is going on. Okay, so now for the next sequence of shots, I step back a bit and cover a different subject, which is the leaves on this tree that we were just looking at. And the way a lot of the shots were done is since I can't be so up close to it to create a bouquet effect that I had on the other shots. I essentially filled the entire frame. Everything that has gone on to that it shows that there's a lot of leaves, a lot of these little fruit, berries that are found on the tree. So that the ultimate goal of this message is that there is a lot going on in the story that it's not just a dead tree and you can find something lush and green and beautiful here as well. So the next component that we're going to cover is shooting the same. And the same is an important part of the beach because that essentially makes the beach having a pot of water next to some same. So what this shot, what I really did was just have a small depth of field, which can be achieved with a very low f-stop like I mentioned earlier, or zooming in with your camera lens? I didn't have a low f-stop lens since I only had two 24-25. So what I did was I just zoomed all the way into 105. I stepped back a little bit and I angled myself so that I was able to shoot at a place where it only focused on the center of my image. So what I did that I only focused on the sand just to show the different sand grains that are here. So this snapshot, I took advantage of seeing a coconut on the beach, since this is kind of a common occurrence here and why. And also it's very unique to why. So I shot both the coconut and the same that was placed on the beach. And what you can see here is I'd separated. Out into the thirds roll again. And the first layer being the coconut and the same as the first third. And the third is being the swap portion of beach along with the body of water. And finally the final third, which is the top showing the edge of the next island over as well as the sun setting sky and the clouds in the back. If you also notice too that the main subject that's in focus is the coconut in the same. And the way to achieve this, like I said, is to zoom your lens in and create the separation from the background with the subject. This next shot here is a very simple shot. I just shut the water and move slowly along with the water that shows the same underneath it. And as you can see, this is how the water pass down the Seine and smoothens out the sand. So the way that I really frame this was I just covered the whole thing in one subject matter, which is the same as the subject matter. And then I use the effect or I took advantage of the moving water to create this visual moving effect. Because if you're just shooting Bureau without too much movement to it, it's essentially just the photograph. So you want something dynamic and engaging like in this shot. So having the water coming down, having the water move and ripple and being smooth really shows and makes it super aesthetically pleasing. So I thought this was a beautiful shaft to shoot. And then I went and jot, moving on. We're talking about the shot of showing that there are islands or that we're on an island. So the shock here, we noticed there's some branches on the top part which I use as the creative element to frame or encapsulate the whole image. And so what you see is the branches framing the island that is in the background and also the water. They're also having the clouds. This to me is a very visually appealing image because it shows many different elements. It shows the foreground, it shows a middle ground, and it shows a far distant background. Now notice as well, it's not distorted. So we know that this is shock on at least a 50 millimeter focal length so that, you know, if it's anything less than that, it gets a bit more distorted in wide. So, you know, this is not a wide angle lens to capture this. So if you shouldn't, something like this, make sure is at 50 or zoomed up. The more zoomed, the better zooming creates this very interesting element that compresses the image or the distance as you zoom in and shows that even though things are really, really far away, it can look really close to some of the things that you're shooting. So for example, you're looking at these branches, but there's also an island in the back and this island is very, very far away, but at the same time, I don't know how far away it is. So this is a very cool effect that I like to do a lot. Next up, I decided to take advantage of the life and movement that is going on here. So I captured some people on their kayaks coming in because this is not a usual experience. I you don't usually see people coming in or people moving about in the water. So this was an important shock to shoot because it does show to the audience what is going on here. Now, if we notice, you'll also see my framing being done with one a bit of shoreline on the bottom-left and having the bulk of the shot being the water level where the kayakers are. Finally a distance of where the island is way up in the back with some clouds and the sun setting Sky being illuminated. And just one last little creative element is, if you look and notice there are a little bit of branches sticking out would rate the effect of having a foreground. Now I also decided to shoot these reactors in such a small speck of this whole scene because they are not really the main subject of the scene. And for a B-roll shot, this is okay because we're shooting something that is just telling the audience that we're at a beach and add a one that is on an island. And finally, the last shot is just a static shot on the beach. Very simple, but also very properly framed. Rosseau, very properly framed. So as you can see in the distance, there is a tiny speck of island. There is a big focus on the moving body of water. It is also the thing that is in focus right now. There is the sun that is setting, illuminating all this guy in the back where the island is in the clouds. And as you can see, there's a bit of whitespace on top. But the thing is, once I put on these cinematic crop bars, It's only going to cover that out and look perfect. So I want to put this in right now just so you can, so as you can see what the crop bars going in this shot is framed completely perfectly. It's a wide shot, but at the same time it's not, it doesn't distort the image to me. Why? Because I did shoot it at above 50 millimeter and it shows everything framed perfectly like there is usage of the third rule, shore and the water, water and the island, and finally the sky and the clouds. This is one of my favorite shots of this whole series, and this concludes the shot analysis section. 4. Putting it Together: Okay. 5. Final Video: Congratulations, you've finished the class now I appreciate you so much for making it all the way to the end. If you can help me out, I would love to hear what you thought about the class in the review section. And if you're interested in this subject, I do have a range of other classes on Skillshare as well, and I look forward to seeing you there.