When does a gameplay overview video make more sense than a fancy and flashy trailer? The more complicated your game, the more it might make sense to make a “Tom Francis style” trailer where you simply explain the game to your audience.
Title cards are one of many tools to help tell a story in a trailer, but most trailers don’t use them in a memorable or effective way. What is it that makes title cards for one trailer memorable, and completely forgettable in another?
Most trailers try to open big, fast, and bombastic, but is it possible to start slow? Yes, of course it is! Here are some examples of trailers which pull us in with their slow intros, and why they work.
“Show, don’t tell” is the age old mantra of filmmaking, and it’s even more important for trailers, because advertising is literally trying to get the audience to buy something, not just “buy in” to a story. Here’s why showing works better than telling, and why telling is so dangerous.
Trailers don’t need to tell everything about a story, and there are many cases in which providing more information makes a less effective trailer. Here’s why character names and other minutiae are at the top of the list for things to leave out.
I’ve worked in both the movie and game trailer industries. There are similarities between the two, but there are many ways they are fundamentally different beasts. Whether you’re looking to enter a career in either or just curious, this will answer your questions!
A recent trend in trailer editing is sound effects being used as the “score” of the trailer or drawing even more attention than traditional trailer sound design. Why might an editor want to use this approach for their trailer?
Unless you have outside restrictions, the length of a trailer shouldn't be the first question in mind, because good editing can make two minutes fly by, and bad editing can make one minute feel like an eternity.
Teaser trailers are often even better than the full trailers because they have to be so enticing that people maintain interest, yet don't know enough so that they can make a full decision on whether or not they want to see it. How do you strike this balance?
Sometimes when there's a built-in audience for an already popular property, great trailers are made, and sometimes it's clear that the trailer producers knew that how the trailer is edited isn't as important as just showing what the audience wants to see.
Some of my favorite trailers are for love stories I either didn't like in the final film, or didn't find as affecting as I did in the trailer. What is it about the storytelling of a trailer that works differently from the final film that causes this to happen?
Two stories about the events that lead up to me getting two of my favorite gigs. Nothing I did that got me these gigs were done for the sake of getting hired, and yet it worked out that way in the end.