What is B-roll footage and why is it important?

The term B-roll originates from the early days of film, when editors inserted supplemental footage, or B-roll, into the main footage, or A-roll, to hide visible lines where two pieces of film were joined. In modern film and video production, B-roll describes all of the footage that isn’t the main action.

This supplemental footage includes all of the shots that don’t include the principal subjects interacting with each other or talking into the camera. It can come from stock footage, archival footage or photos, and second unit crews whose whole job is to capture B-roll shots.

Though digital video has eliminated the problem of film splicing, makers of both scripted and unscripted video still use B-roll to establish scenes, smooth transitions, and cut out coughs or unwanted frames without throwing away a whole shot. “Even though it sounds like it’s secondary, B-roll is what creates the nuances of visual storytelling,” says director and cinematographer Hiroshi Hara.

B-roll is essential in narrative features to create a sense of time and place and add layers of meaning to the story. Establishing shots at the beginning of scenes that show city streets or the exteriors of buildings are usually B-roll, along with other shots that cut away from the main action.

If two characters are on a street corner and one says to the other, “That’s the bank I want to rob,” the film might cut to a shot of the bank building. “Can’t be done,” the other character might say in voiceover during the shot of the bank. This type of cut also gives an editor more options when they splice together multiple takes of a scene.

As Hara describes it, B-roll is the icing on the cake, but A-roll footage, or principal photography, is the cake itself. “Without the actual cake, there’s nothing to put it on. B-roll is generally whatever shot supports the main footage and the plot line,” Hara says. Filmmakers tend to get B-roll after they get the main footage. Because these shots don’t require a sound person or the principal actors, the filmmaker can save time and money with a second unit or smaller crew.

B-roll is crucial for news stories and documentary films. Any format that contains a lot of interview footage can benefit from relevant and visually interesting alternative footage.

“An interview with a person just stationary and talking into the camera can get pretty boring,” Hara says. “B-roll can enhance that storytelling experience. And you can use it when you need to cut between certain soundbites or shave off time without getting stuck with a jump cut.” (Jump cuts are edits that jump forward or backward in the same shot, which often has a jarring and disorienting effect.)  

While you’re still in preproduction, keep these tips in mind to capture as much useful extra footage as you can. You’ll thank yourself in post-production.

With B-roll, as with primary footage, you’ll save yourself time, money, and frustration if you make a shot list. Consider the time of day and the season. Consider the equipment you’ll need. “Be specific about what you’re looking for,” Hara says. “Once you have a list it’s much easier to visualize the problems or limitations that could come up.”

When you shoot a narrative film, go through the script and note possibilities for good establishing shots, cutaways, and close-ups. When you make a documentary or other video that involves a lot of footage of talking heads, take good notes about what images you can pair with the dialogue. Also consider how you’d like to shoot that subject matter.