This is the second of three presentations I delivered at the 2019 JEA Advisers Institute in New Orleans.

1. EXPLORING VISUAL PATTERNS
FOR VIDEO STORIES
Presentation by Jim McCarthy, CJE
Joseph Gregori High School
Modesto, CA

2. ELEMENTS OF DOCUMENTARY VIDEO
A-ROLL The viewer can see the person and hear what he or she is saying.
B-ROLL Visual footage that shows the story and relates to the A-roll.
A-roll + B-roll = Documentary Video

3. ELEMENTS OF DOCUMENTARY VIDEO
A-ROLL The viewer can see the person and hear what he or she is saying.
B-ROLL Visual footage that shows the story and relates to the A-roll.
A-ROLL + B-ROLL = Documentary Video

4. ELEMENTS OF DOCUMENTARY VIDEO
A-ROLL The viewer can see the person and hear what he or she is saying.
B-ROLL Visual footage that shows the story and relates to the A-roll.
A-ROLL + B-ROLL = Documentary Video

5. ELEMENTS OF DOCUMENTARY VIDEO
A-ROLL The viewer can see the person and hear what he or she is saying.
B-ROLL Visual footage that shows the story and relates to the A-roll.
A-ROLL + B-ROLL = Documentary Video

6. A-ROLL
The viewer can see the person and hear what he or she is saying.
TYPES OF A-ROLL

7. A-ROLL
The viewer can see the person and hear what he or she is saying.
TYPES OF A-ROLL

8. A-ROLL
The viewer can see the person and hear what he or she is saying.
TYPES OF A-ROLL
INTERVIEW FOOTAGE

9. A-ROLL
The viewer can see the person and hear what he or she is saying.
TYPES OF A-ROLL
INTERVIEW FOOTAGE REPORTER STANDUP

10. A-ROLL
The viewer can see the person and hear what he or she is saying.
TYPES OF A-ROLL
INTERVIEW FOOTAGE REPORTER STANDUP MAN ON STREET

11. A-ROLL
The viewer can see the person and hear what he or she is saying.
TYPES OF A-ROLL
INTERVIEW FOOTAGE REPORTER STANDUP MAN ON STREET SOUNDBITE

12. B-ROLL
Visual footage that shows the story and illustrates the A-Roll.
TYPES OF A-ROLL

13. B-ROLL
Visual footage that shows the story and illustrates the A-Roll.
TYPES OF A-ROLL

14. B-ROLL
Visual footage that shows the story and illustrates the A-Roll.
TYPES OF A-ROLL

15. B-ROLL
Visual footage that shows the story and illustrates the A-Roll.
TYPES OF A-ROLL

16. B-ROLL
Visual footage that shows the story and illustrates the A-Roll.
TYPES OF A-ROLL

17. A-Roll
B-ROLL
Visual footage that shows the story and illustrates the A-Roll.
TYPES OF A-ROLL

19. B-ROLL: Wide/Establishing Shot

20. A-ROLL: Reporter Stand-up

22. B-ROLL Sequence
A pattern of shots edited together

23. B-ROLL Sequence
A pattern of shots edited together

26. Text/Graphic: Bullet Points

28. B-ROLL Sequence

30. A-ROLL: Soundbites (brief interview comments)

31. A-ROLL: Soundbites (brief interview comments)

32. B-ROLL Sequence

34. A-ROLL: Formal Interview

35. Interview Sequence
A pattern of shots edited together

36. Brooker Video Patterns
Series of Charts/Graphics

37. B-ROLL Sequence

38. A-ROLL: Reporter Stand-up

39. B-ROLL: “A bit of word play to sign-off ”

40. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL

41. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL

42. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL

43. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL

44. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

45. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

46. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

47. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

48. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

49. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

50. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

51. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

52. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

53. Brooker Video Patterns
B-ROLL + A-ROLL + B-ROLL (sequence) + Text/Graphics +
B-ROLL (sequence) + A-ROLL (sequence) + B-ROLL (sequence)
+ A-ROLL (sequence) + Text/Graphics + B-ROLL (sequence) +
A-ROLL + B-ROLL
A pattern of shots edited together.

54. Basic Video Patterns
B-ROLL + A -ROLL + B -ROLL + A –ROLL, etc.

55. Basic Video Patterns
B-ROLL + A -ROLL + B -ROLL + A –ROLL, etc.

56. Basic Video Patterns
B-ROLL + A -ROLL + B -ROLL + A –ROLL, etc.

57. Basic Video Patterns
B-ROLL + A -ROLL + B -ROLL + A –ROLL, etc.

58. Let’s talk sequences
Videographers capture patterns

59. Photographers capture moments
Videographers capture patterns

60. Photographers capture moments
Videographers capture patterns

61. This is a representation of a single still moment.

62. This is a representation of a 10 still moments.

69. Sequence pattern: moment-to-moment

71. B-ROLL SEQUENCE PATTERNS
1. Moment-to-Moment: Raw Footage
2. Action-to-Action
3. Scene-to-Scene
4. Aspect-to-Aspect

72. B-ROLL SEQUENCE PATTERNS
1. Moment-to-Moment: Raw Footage
2. Action-to-Action
3. Scene-to-Scene
4. Aspect-to-Aspect

73. B-ROLL SEQUENCE PATTERNS
1. Moment-to-Moment: Raw Footage
2. Action-to-Action
3. Scene-to-Scene
4. Aspect-to-Aspect

74. Hallway Sequence

76. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3

77. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3

78. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3
(1 min 33 sec.) (24 sec.)

79. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3

80. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3

81. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3. Action-to-action feeds viewer with a variety of short shots.

82. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3. Action-to-action feeds viewer with a variety of short shots.
3. 24 sec. / 9 shots = 2.67 sec. per shot
4. Creates interest by changing perspectives.
5. Creates anticipation for next shot.
6. Creates variety that is patterned on the way we naturally experience
the world.

83. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3. Action-to-action feeds viewer with a variety of short shots.
3. 24 sec. / 9 shots = 2.67 sec. per shot
4. Creates visual interest by changing perspectives.
5. Creates anticipation for next shot.
6. Creates variety that is patterned on the way we naturally experience
the world.

84. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3. Action-to-action feeds viewer with a variety of short shots.
3. 24 sec. / 9 shots = 2.67 sec. per shot
4. Creates visual interest by changing perspectives.
5. Creates anticipation for next shot.
6. Creates variety that is patterned on the way we naturally experience
the world.

85. How is Action-to-Action different than Moment-to-Moment?
1. Action-to-action compresses time.
2. Action-to-action combines wide, medium, tight (close-up) shots.
3. Action-to-action feeds viewer with a variety of short shots.
3. 24 sec. / 9 shots = 2.67 sec. per shot
4. Creates visual interest by changing perspectives.
5. Creates anticipation for next shot.
6. Creates variety that is patterned on the way we naturally experience
the world.

86. The problem with composing action-to-action.

87. B-ROLL SEQUENCE PATTERNS
1. Moment-to-Moment: Raw Footage
2. Action-to-Action
3. Aspect-to-Aspect (Wandering Eye)
4. Aspect-to-Aspect

88. B-ROLL SEQUENCE PATTERNS
1. Moment-to-Moment: Raw Footage
2. Action-to-Action
3. Aspect-to-Aspect (Wandering Eye)
4. Aspect-to-Aspect

92. B-ROLL SEQUENCE PATTERNS
1. Moment-to-Moment: Raw Footage
2. Action-to-Action
3. Aspect-to-Aspect (Wandering Eye)
4. Aspect-to-Aspect

96. Jordan speaks, we see b-roll of Jordan racing, he speaks
again. The audio and video do not overlap in any way.
B-ROLL A-ROLLA-ROLL

98. Before Ciana speaks, we see b-roll of Ciana racing.
A-ROLLB-ROLL

99. Before Ciana speaks, we see b-roll of Ciana racing.
A-ROLLB-ROLL
“Go Ciana!”

101. VOICEOVERA-ROLL AUDIO
When the coach speaks about Ciana:
1. We see a-roll of him speaking
2. We continue to hear him speak while we see b-roll of Ciana racing.
NAT SOUND

102. Coach demonstrates
sense of humor.
“[Coach] is a fun guy. He has a sense of humor.”

104. A-ROLL + B-ROLL + C-ROLL
“C” stands for “Candid.”
Candid shooting of active situations.
C-roll can be the most compelling footage because these
moments can be more revealing than A-roll, where someone
explains a situation.

105. A-ROLL + B-ROLL + C-ROLL
“C” stands for “Candid.”
Candid shooting of active situations.
C-roll can be the most compelling footage because these
moments can be more revealing than A-roll, where someone
explains a situation.

106. A-ROLL + B-ROLL + C-ROLL
“C” stands for “Candid.”
Candid shooting of active situations.
C-roll can be the most compelling footage because these
moments can be more revealing than A-roll, where someone
explains a situation.

107. A-ROLL + B-ROLL + C-ROLL
“C” stands for “Candid.”
Candid shooting of active situations.
C-roll can be the most compelling footage because these
moments can be more revealing than A-roll, where someone
explains a situation.

108. A-ROLL + B-ROLL + C-ROLL
“C” stands for “Candid.”
Candid shooting of active situations.
C-roll can be the most compelling footage because these
moments can be more revealing than A-roll, where someone
explains a situation.

110. FIN

113. OPENING:
NATURAL SOUND:
3 SECOND MINIMUM

114. “[Elizabeth Hayes] balances a
schedule of varsity tennis…”

115. “...travel soccer…”

116. “...maintains a 4.6 GPA with
Four AP classes…”

117. “...and volunteers her time
As a U10 Ajax soccer coach…”

118. “...and volunteers her time
As a U10 Ajax soccer coach…”

119. “The biggest challenge is
probably trying to keep their
attention because…”

120. “...they are so young and they’re
not used to being focused…”

121. “...for more than five minutes…”