Constructing the Teaser Trailer

8/9/2019 Constructing the Teaser Trailer

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Editing & Constructing the Teaser Trailer There were a countless number of stages and actions involved in constructing the teaser trailer. In this document I have highlighted some of the many processes my group and I went through when constructing the ‘Vacancy on Violet Hill’ teaser trailer. The processes I have highlighted can be used to understand how we edited other parts of the teaser trailer. (Note: separate documents have been produced for the construction of the production titles and the ‘Demon Face’.) Pulling Elements together in Adobe Premiere Adobe Premiere was where my group and I edited footage together. Below is an annotated screenshot of our teaser trailer’s workspace.

Transitions – There were two types of transitions we used in our teaser trailer: Cross Dissolves and Dips to black. These were mostly used to abridge our scene and represent a time ellipses. However, we did use them for other purposes.

This is the project window. This is where all of our

lips were stored. We used the project window to drag and drop

lips on the imeline.

We used the effects window primarily for video and audio ransitions. These

needed to be dragged and dropped onto

lips inside the imeline. This is the timeline window.

This is where we ordered and edited our clips to form our teaser trailer.

The source viewer allowed us to identify clips but more importantly it allowed us to edit them by setting in and out points.

Timeline viewer: this allowed us to view the timeline’s edited/constructed teaser trailer

Tools window. Included tools like the razor tool, pen tool and selection tool.



You can see the effect of placing a cross dissolve between two shots on the right hand side. The cross dissolve here was used to embody the father’s thoughts. His son has gone missing demonstrated by the shot of an empty chair. This shot cross dissolves onto a shot of the father’s face pulling an anxious facial expression. This demonstrates how we used cross dissolves effectively in our construction of the teaser trailer.

We chose to place another cross dissolve when the father is raising his torch to the table. As he raises his torch a cross dissolve is used to bridge it with another angle of him raising his torch. It doesn’t look like a cross dissolve because we used the moment where there is a lens flare in the second clip so start the dissolve. This was one piece of editing our group was particularly proud of.

We found that dipping to black was a very effective transition when attempting to represent a time ellipses. However, it was utilised to effect in other parts of the teaser trailer construction.

Using a Dip to black after our second production title allowed us to convey to viewers that the teaser trailer was .

Cross dissolve effect as a transition between two shots.

We placed a dip to black after our second production title. about to formally start.



We also used dips to black in our kitchen scene. As you can see multiple dips to black were used when we wanted to simulate the lights flashing.

Music & Sounds – We also used Premiere to edit sounds and music for our teaser trailer. This included simple audio gains to distortion effects.

We used constant gains to mix sound and music together. Here you can see we mixed together a vinyl crackle with the song ‘Maybe’ for a smooth transition

Premiere allows users to have an infinite number of audio tracks. This came in handy when creating a cinematic experience. It also allowed us to perform things like sound

To the left are the effects we added to the song that was supposed to be playing from the record player. We used a reverb effect and set it according so it sounded like the song had an echo. We then added a delay effect which accentuated the reverb’s echo.

We placed dips to black between shots to simulate flashing lights

A cross gain was put between the crackle of a vinyl and the song ‘Maybe’

We used constant gains and the multiple audio tracks to perform a sound bridge from the houses’ hallway to the houses’ kitchen

bridges.



We also used Premiere’s

ability to increase and

decrease audio levels. On the

left is

a screen

shot

of

audio

levels being adjusted. In this

instance we did this to

accentuate the fright by

bringing the audio gain up to

10db.

Using After Effects to manipulate shots It is possible to manipulate the appearance of shots in Premiere, but our group chose to manipulate

the appearance of shots in After Effects because of its advanced capabilities.

For this particular shot

we also made a black

solid to put on top of

the shot. We then drew

a circular mask on the

solid setting the mask

to subtract, causing it

to look like black

shadows were

enclosing in on the

record player.

We added this preset to every

single shot. This is Video Copilot’s

free 16‐9 aspect ratio.

This was the result of applying a

16‐9 aspect ratio. All of our shots

have these black borders.

We set the mask’s

feathering to 37 pixels

and also set the

layer’s opacity to 75%

so it looked like a

realistic shadow.



What we also did

with this shot was

adjusting its colour.

By using

a curves

adjustment we

brought down the

shots blues giving it a

more sepia tone.

This helped us

establish our tone

and atmosphere.

We applied a curve adjustment similar to the above example to most of the shots in our teaser

trailer to

maintain

continuity

and

create

menacing

tones.

Below is another shot that we adjusted in After Effects during the construction process of our teaser

trailer. We would not have been able to achieve the effect that we achieved had we tried to use

Premiere.

Like all of our other shots, we applied Video Copilot’s

16‐9 aspect

ratio

in

an

attempt

to

create

a true

cinematic experience.

We masked around both of

our actors so we could

control the

background’s

lighting as well as

increasing the depth of

field. As you can imagine,

the masking process was a

long one.

On the right hand side are the effects that were applied to the

background layer.

We

brought

down

the

brightness

of

the

wall

behind

our child actor for the sake of tone. This was made possible by the

masking process. We also added a Gaussian blur to the background

Original Shot

which meant we could direct our viewer’s attention to the son more

easily.



We also applied a Gaussian

blur to our actor playing the

father in this shot to direct

attention even

more

on

the

son. This also meant that we

could perform an effective

focus pull when the father

turned his head to deliver the

line “What was that?”

We did the exact same

masking process with this

shot. Although it is not as

noticeable as the last shot,

it still made a difference

and created an enhanced

cinematic experience.

Another adjustment we made during the construction of the teaser trailer was a Day for night

adjustment.

We started by applying

a brightness and

contrast effect. We

pulled the contrast of

the shot up to 40.

We then created an adjustment layer and applied the following effects to it:

These are the key frames

we used to perform the

focus

Original Shot Altered Shot



The curves adjustment was used to darken the shot, and the levels adjustment was helpful because

it highlighted blacks and crushed whites. We then added a ramp which injected some blue into the

shot. This gave the shot and the room the father was entering a cold feel, whilst also adding to the

Day for night effect.

After we

had

corrected the colour

in the shot we

generated a lens

flare which simulated

the torches’ light.

A mask was then drawn around the lens flare to reduce its

outer flare. This was done to ensure a realistic torch light

effect. We also put a displacement map and Gaussian blur on

top of the lens flare to ensure a realistic effect.

We followed this process with another shot during the

construction of our teaser trailer which can be seen below.

Shot After

Colour

Corrections

Shot

After

Generated

Lens

Flare

Key frames directing

the lens flare’s

brightness and

movement

Original Shot Altered Shot



The text which appeared in the trailer was also created in After Effects. Once we had created one

text effect, it was easy to create the others because we could use the original as a template.

We started by

animating our

text by key

framing its

position

CC Burn Film effect was then added to each text

element.

This

helped

simulate

the

illusion

of

the

text bleeding onto the screen.

A grime texture was then

added to

the

text

element to accentuate

the text’s eeriness. Just

like the text itself, we

faded the grime texture

on by using the CC Burn

Film effect. Furthermore,

the opacity of the grime

texture was set to 75%

ensuring

that

it

would

not overbear the text.

Adobe After Effects and Adobe Premiere were both invaluable programmes when constructing our

teaser trailer for ‘Vacancy on Violet Hill’. The construction/editing process of the teaser trailer

challenged the group technically and conceptually subsequently helping our editing skills.

Constructing the Teaser Trailer

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