Add b-roll cutaways

A camera clip that never cuts away feels like a lecture. B-roll — the cutaway shots over your voice — is what makes it feel produced. The tedious parts are finding the shots and placing them at the right moments; both are agent work.

What you need

• A main clip: a talking head, a screen recording with narration, or raw social footage.
• B-roll material — or not: the agent can find it on your disk, capture it, or generate it.
• A connected agent.

What to say

Add b-roll over this talking head — when I mention the dashboard, cut to the dashboard; when I talk about the team, use the office shots in ~/Footage.

For a screen recording:

Break up this walkthrough — cut to the customer quote card when I read it, and to the architecture diagram when I explain the pipeline.

For social:

Make this a vertical clip with b-roll: keep my audio running, cut away every few seconds so it holds attention.

What happens

The placement is the clever part: with a transcript on the clip (the agent makes one on the spot if needed), “when I mention X” is a precise timestamp, not a guess — the agent drops each cutaway exactly where the words call for it. The material comes from wherever it exists: files on your disk, a screen it records itself, or imagery it generates. Your audio runs continuously underneath — cutaways are muted video layers over the main clip, so the voice never hiccups. For social, the same pass lands in a vertical composition with feed-paced cut rhythm.

Make it yours

Every cutaway is an ordinary timed layer — drag its edges on the timeline, swap its footage, or delete it. Ask for adjustments at the story level: “the dashboard cutaway is too early — hold on me until I finish the sentence.” And because placements ride the transcript, a recut of the main clip keeps them anchored to the words.