So we had these types of discussions at every single moment, and it became a first pass of sorts.
![make visuals great again make visuals great again](https://1.bp.blogspot.com/-WTXx7AM0jHs/YSI7u8zGJUI/AAAAAAAAFZ8/W9Uxo0RPLDQBYOkB1c6zOEfeYAqsHZokwCLcBGAsYHQ/s1280/Make%2BVisuals%2BGreat%2BAgain%2BMod%2BGta%2BV%2B2021_%2BBy%2BH-P.jpg)
And fortunately because we shot 4K, it's just a matter of punching into that close-up from the wide shot. I explained to her that psychologically, closer shots often better connect the viewer to the on-screen talent, and so we agreed that it was a great way to begin building that part of her brand, in terms of her warm, welcoming, bright personality. For example, the next thing we decided upon, was to cut to a close-up of Lolita, as a way to introduce her to the viewer. After that, it's just time to go down the line and decide what we see at each point in time. It's also very visually interesting, so if this video is autoplaying on social media for example, it'll catch people's attention. Again, it's a fun, whimsical, bright, clean, natural and energetic piece. So as we begin the edit, Lolita was excited about starting off with the air plant stop motion, and this really sets the tone for the entire show. We need to determine when we show as much of the engaging B-roll as possible, and when we leave it alone, and stay connected with her. Part of her personal brand is showing off her friendly, bright personality, so we want to be able to keep her on screen plenty, too. It's also important to decide when we want to stay on Lolita.
![make visuals great again make visuals great again](https://i.ytimg.com/vi/iqeBGuhrNmA/maxresdefault.jpg)
It's just a matter of choosing which shot that is, how long to make it, and how we'd like to segue from one shot to the next. Fortunately this is a fairly basic sequence, where it'll be fairly apparent what category of shot should be included at any given moment.
#Make visuals great again professional
We've got her own professional still images, and we've got a little screencap as well. We've got the creative shots, like the stop motion and timelapse. We've got the footage that Lolita shot, which encompasses her product shots and shots of her performing actions. Now in this particular project, we have several varieties of B-roll.
#Make visuals great again how to
If you watched the second movie of this chapter, you know exactly how B-roll functions to accompany the primary interview footage, as well as the mechanics of how to mark shots and bring them down to the sequence. These visuals are often called B-roll, and that's because the primary material that we just edited, which we can call the A-roll, forms the foundation of the project, and now it's time to overlay the visuals, the B-roll, atop this A-roll, so that things start coming together both visually and aurally.
![make visuals great again make visuals great again](https://i.ytimg.com/vi/ew9mYzCj7hU/maxresdefault.jpg)
Lolita has chosen her shots, laid them into the sequence to form a very rough assembly, and has performed meticulous trimming to get the content and the pacing of the shots just right.