Watch any documentary, news report or company video, and you will see people speaking, but also many shots of what they are talking about: their hands at work, their city, the product, the people around them. These extra shots are called B-roll. They illustrate the story, keep viewers interested, and let editors shorten interviews smoothly. This lesson explains what B-roll and cutaways are, what to film, how to place them in an edit, and how to avoid the empty, generic B-roll that makes videos feel like advertisements.
A-roll, B-roll and cutaways
| Term | What it is | Example |
|---|---|---|
| A-roll | The main footage that carries the story, usually people speaking | An interview or presenter |
| B-roll | Supporting footage shown over or between the main footage | A baker kneading dough while she talks about her work |
| Cutaway | A short shot that cuts away from the main action and back again | A listener nodding, a clock on the wall |
| Insert | A close shot of a detail within the scene | A hand signing a document, as in shot sizes and camera angles for video |
Remember:The terms A-roll and B-roll come from early film and television editing, when footage was literally on separate rolls of film or tape that were mixed together.
Why B-roll matters
- Show, don't tell: B-roll shows what people describe, as in visual storytelling in film.
- Hide edits: covering a cut in an interview makes it invisible, as in editing dialogue and interviews.
- Control pace: B-roll lets the editor add rhythm and variety, as in pacing and rhythm.
- Add emotion and context: the place, the people and small details make a story feel real.
What B-roll to film
- Action: the person doing what they talk about.
- Sequences: wide, medium, close and detail shots of each activity, using the five-shot idea from your first video clips.
- Place: establishing shots of the building, street or landscape.
- Details: hands, tools, textures, signs and objects that carry meaning.
- People: colleagues, customers, family, with their consent.
- Movement: a few slow camera moves for smooth transitions.
Tip:Film more B-roll than you think you need, and hold each shot for at least 10 seconds. Editors almost always run out of B-roll before they run out of interview.
Placing B-roll in the edit
- Lay down the A-roll first, the main story spine, as in building the rough cut.
- Place B-roll on an upper video track so it covers the A-roll picture while its sound continues.
- Match B-roll to the words: show what is being said, or what helps viewers understand it.
- Start B-roll on a natural moment, such as the start of a sentence or a key word.
- Return to the speaker for emotional or important moments, so viewers can see their face.
- Add the B-roll's own sound quietly under the voice for realism.
Cutaways in scenes
Cutaways are used in conversations and events to show reactions, the surroundings, or a related detail. They can also hide continuity errors and jumps, as in continuity editing and match cuts. A good cutaway feels like part of the story, not just a patch.
Avoiding generic B-roll
- Be specific: real footage of the actual person and place is more powerful than generic shots.
- Avoid literal clichés: not every mention of 'growth' needs a plant growing.
- Use stock footage carefully: check licences and avoid overused clips, as in licensing and usage rights.
- Be honest: in documentaries, do not present unrelated footage as if it shows the real event.
Common mistakes
- Not filming enough B-roll: interviews cannot be shortened smoothly.
- B-roll shots too short: editors have no usable length.
- Covering every second of the speaker: viewers lose connection with the person.
- Random B-roll: pictures that do not relate to the words.
- Silent B-roll: scenes feel artificial.
How documentary editors use B-roll
Documentary and corporate editors build the story from interviews, then weave in specific, well-shot B-roll that illustrates, hides cuts and controls rhythm. They return to faces for emotion, keep B-roll natural sound underneath, use stock footage sparingly and honestly, and ask the camera team for more B-roll whenever they can.
Practical examples
A bakery owner's story
- Situation
- Your interview with a baker has several obvious cuts.
- What to do
- You cover each cut with B-roll of her kneading dough, the oven and customers, with soft natural sound.
- Why it works
- B-roll hides the cuts and shows her work.
- Result
- A smooth, warm story that feels real.
A company video full of stock clips
- Situation
- A brand video uses generic stock footage of handshakes and city skylines.
- What to do
- You replace them with real footage of the team at work.
- Why it works
- Specific B-roll is more believable than generic stock.
- Result
- The company feels authentic and trustworthy.
Key points
- A-roll carries the story; B-roll shows and supports it; cutaways step away briefly and return.
- B-roll illustrates, hides edits, controls pace and adds context.
- Film plenty of specific B-roll in sequences, holding shots for at least 10 seconds.
- Place B-roll on upper tracks over A-roll sound, matched to the words, returning to faces for key moments.
- Avoid generic stock clichés and present B-roll honestly.
Frequently asked questions
What is B-roll?
What is the difference between B-roll and a cutaway?
How much B-roll should I film?
Can I use stock footage as B-roll?
Conclusion
B-roll and cutaways turn talking into storytelling: they show, hide edits, add rhythm and give context. Film plenty of specific footage and use it honestly. Next, you will learn how to add titles, text and graphics.
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