Finding the unique selling points (or USPs) to feature in a game trailer are of utmost importance, because there is only so much you can communicate in a trailer. Here is a process you can use to find your game’s USPs, so you can prioritize them in your trailer.
Breaking down visuals is an essential step in trailer editing where you take your footage, remove what is bad, and organize everything else into tiny bits. The time spent at the beginning of the project will save you hours of time while editing.
Here are a series of questions you can ask yourself when you need to evaluate the efficacy of the shots in your trailer based on the intention of the shot, and how the target audience will respond to it. A lot of creative decisions can feel arbitrary; these questions take out some of the “feel” and allow you to consider with some measure of objectivity.
The most important part of a good game trailer is to find the heart of what makes the game unique. There are multiple ways to hone in on this one factor, so you can then structure your trailer around it.
Working with hundreds or thousands of individual pieces of dialogue and visuals is very intimidating, but if you’re able to sort all of those things into chunks, finding the right order for events is much easier. This is my process.
Who a trailer is targeting is something which can significantly affect how something should be presented. What does your target audience already know? When are they watching it? Where are they watching it? All of these factors can and should be considered when making a trailer.
People always ask me how long a game trailer should be. There’s no one answer, but there is a bigger question of how video length and label affects the audience expectations. Calibrate expectations properly, and the necessary length of video will become clearer.
The burden of depicting player verbs is something unique to the art of making game trailers. What is the best way to show them visually without resorting to a voiceover explaining the game point by point?
This is a multi part series of posts about the different “acts” of a trailer. In the age of scrolling feeds of auto-playing video, the Cold Open is more relevant than ever. Here is how it can hook the audience’s attention
Here are the varieties of trailers made for video games. Similar to TV spots for big budget films, game trailers come in all varieties with different target audiences, and messages to communicate to their audience.
How is the audience’s interest affected based on the content you choose to put into a trailer, and how frequently you release trailers? This is the first of a 5 part series exploring that question via a handful of trailer campaigns that took different approaches. Here I analyze the trailer releases for Avengers: Age of Ultron and Infinity War.
I watch a lot of game trailers, but I don’t finish watching them all, because there are a handful of red flags that tell me the trailer doesn’t have planning, editing or execution. Here are those red flags.
Part 2 of my post on rewatching trailers after seeing the finished film. Here I analyze Black Panther’s full trailer, and how it so expertly makes us think we’re seeing a lot, but still showing very little.
It’s almost a ritual for me to rewatch a film’s trailers after I see the finished version. This is part 1 of what I look for in a trailer to do my best to reverse engineer the thought process of the trailer’s producers via the trailers for Black Panther.