Download - 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.
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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.
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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.
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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.
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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.
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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
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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
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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.