So you just signed up for another corporate documentary shoot for another tech company at another local high-rise. They don’t want you filming in their super-secret proprietary lab and they’re definitely not flying you to China to see where the products are made, so you’re stuck in a cube farm trying to scrounge up useable b-roll for your interviews. Fear not. With some thoughtful planning and a little bit of ingenuity, you can get enough clips to make your piece shine.
Have I done my prep?
Fortune favors the prepared mind, which is why the most critical step is to plan ahead. Don’t just show up on the day of the shoot and hope that genius will strike—be prepared. Put the time and effort into figuring out what the look and feel of the final product should be. Answer this key question: What story are you trying to tell? Whether it’s client work or personal, you should have a good idea about overall message. Think about how your final video will capture that message in a way that feels authentic to the people in the video. For example, if you’re following around volunteers at a homeless shelter, the video shouldn’t be slick and glossy. Likewise, if you’re capturing a model’s first major runway show, don’t go for gritty and grimy.
In the past, the conventional wisdom about b-roll was that it should reflect whatever was happening during the interview. If the subjects are talking about the ocean, we see the ocean. Are they discussing their desk? We see their desk. Modern viewers don’t want or need this type of hand-holding. Today’s viewers are much more visually literate and likely only half paying attention to whatever’s in front of them. This opens an opportunity for more innovative b-roll that highlights a-roll and dialogue instead of simply repeating it. We want to design b-roll sequences with its own logic and tension, maybe its own three-act structure, to give the viewer a reason to never look away from the screen.
What are my angles?
This question is meant both literally and metaphorically. Now that you know what you’re trying to capture, break it down visually. Think about the exact shots that might make up a b-roll sequence, as well as the point of view you’re trying to communicate. Every shot has a mood, so it’s better to be intentional about the mood instead of leaving it up to chance. Is John’s office sleek and filled with neon, or homey and ramshackle with stacks of papers and boxes? If it’s the former, we rig the camera high and get clean leading lines going toward the center of the frame. If it’s the latter, we shoot low to the ground and aim up to accentuate the scale of the stacks.
You’ll want to ensure you have lenses that can capture wide, medium, and close-up shots. A versatile zoom like a 24-70mm could cover all of the bases, but prime lens fans will likely need at least two focal lengths to get the job done.
Try to shoot close-ups with a wide-angle lens or wides with a telephoto and expect some wonky-looking images. Specialty lenses like macros and super telephotos can give more options, but they should feel authentic to the piece. If the subject is a botanist, macro shots make sense; if they’re a dog trainer, probably not.
This is also the stage where you can think about what accessories will help enhance these shots—lighting, rigging, etc. Having at least one small RGB light like an Aputure MC Pro or tube light like a Genaray PX2-RGB can help give pops of color to darker areas of the frame. Larger lights are great for interviews, but can be overkill for b-roll, with longer set-up times, demanding power needs, and a bigger physical footprint. If your camera is light enough, you can mount it in unique places with accessories like suction cups or an Impact Flex Arm Super Clamp to accentuate the mood. A high-angle shot might look nice with a tripod extended all the way out but could look even better with the camera clamped to a drop ceiling.
What’s my action?
So, now you have your angles, your mood, your plot, but it still seems a little dry. What you’re missing is camera movement. Some directors have such captivating framing and editing that they can get away with totally static shots. The rest of us rely on physical camera movement to spice up our footage and help build out the moods we hope to achieve.
In terms of handheld options, gimbals and manual stabilizers are the most effective ways to level up your shots. Gimbals like the DJI RS4 let the computer do the work, with motors that even out bumps and shakes to help achieve silky smooth pans and tilts. They can put a major strain on your arms over prolonged periods if your rig’s on the heavy side, so in those situations a more manual, full-body stabilizer like Easyrig's Minimax will help evenly distribute weight.
Any kind of stabilizer is ideal for walk and talks or other shots that change location, but if you’re staying in one place, you might get more dynamic movement with a slider. Like gimbals, sliders also come in motorized or manual variants. Perfect for adding dynamism to a static subject, a slider’s customizable speed and direction can give varying energy and emotion to your shot. A slow slide to the right might accentuate the passing of time, while a faster move directly toward the subject could give a sense of panic. A dolly is basically a larger version of a slider, capable of handling heavier rigs. Using a small mirrorless camera? Check out Accsoon’s TopRig S60 for precise speed control. What about a big cinema body? You’re better off with the ubiquitous Dana Dolly and a steady hand to move it.
A final tool to consider is a crane, which consists of a long jib arm mounted on top of a tripod so you can smoothly move your camera in all three dimensions. Cranes are often pricey and require a lot of space to set up, but are truly the most flexible tool for camera movement. The possibilities are endless, and good crane moves can give your work a massive boost in production value. But don’t overuse them! Your epic opener and closer might need a crane, your close-ups probably do not.
With all these tools, you want them to feel organic to the point you’re at in the story. For example, a dolly–in may be appropriate for a dramatic reveal but it will stick out like a sore thumb during a quiet heart-to-heart. The goal is to achieve a sense of momentum in the narrative of the piece, then have that momentum reflected in the movement of the camera.
There will never be a perfect way to capture b-roll, but considering these three questions before you power on your camera is a fantastic way to set yourself up for success. Study your inspirations, plot out your project, be prepared to throw out all that planning once you get on set, and don’t forget to reflect on each shoot after it’s over. Filmmaking is a craft you learn over a lifetime, and being more intentional with your work will ensure steady forward progress.
What are your favorite techniques for capturing documentary b-roll? Let us know in the Comments section, down below.
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