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  • 1. PRODUCTION LOG : TEASERTRAILER CREATING MY TEASER TRAILER

2. CREATING BLOODLINE: THE TEASERTRAILER Once, we had finished filming and started the construction of our teaser trailer, me andmy production team took it in turns assembling and editing our teaser trailer with themain role of editor being split between us. I was assigned: Role C) : Modifying edited sequences in negotiation with the director/ producer Role D) Dubbing additional sound effects, music or voice over as appropriate And Role E) : Creating titles and credits for the finished project. This PowerPoint willbe focussing on Role C and how I modified our film sequences in Adobe Premiere innegotiation with my team in the aim of constructing a media product aimed at apotential target audience. 3. DIGITAL PROGRAMMES I AM USING TOCREATE MY TEASER TRAILER Adobe Premiere: is a video editing software application. Itis part of the Adobe Creative suite, a suite of graphicdesign, video editing and web development applicationsdeveloped by Adobe Systems. I intend to use this toprogram to create and edit my teaser trailer, I havedecided to use this programm because I feel it has theright features such as the 3D and 2D monitors to create aprofessional trailer. It has also produced commercial filmsthat have gained critical success such as Avatar, thus Ifeel it is the right direction for my first film feature. 4. Role C) Modifying edited sequences innegotiation with my production team In constructing our teaser trailer, with our rawfootage me and my production team had filmed,Terris role was to create a draft version of our teasertrailer using the storyboard as a guideline to ensurewe had the right shots and actions we had plannedout in our initial storyboard. Once, we had the draftversion, my task was then to modify the editedsequences in negotiation with my production team.Before, I began transforming the draft version, Iwanted audience feedback on what areas to adjust,what could be of styles of editing and if theyunderstood the storyline through the chronologicalsequences. 5. Role C) Modifying edited sequences innegotiation with my production team: AudienceFeedbackLewis: I think you need fast cuts in the sequence to establish the genre and add intensity. I dont really feel intrigued to watch the rest of it because the images dont grab my attention Femi: The storyline is not really clear or easy to understand. I didnt really get the two middle scenes from the phone call to the girls running, if felt like a big piece of the narrative was missing Nana: Some of the sequences are too long, maybe you should speed them up a bit to get more of the narrative acrossReflectionI think my audience feedback was helpful and it acted as a starting point from me to change the teaser trailer using our creativity and conventions stated in our statement of intents with our target audiences opinion on how to make the teaser trailer better. It was important for me to get audience feedback, because I am constructing this media product intending to aim it to a potential target audience so it is important for me to get their opinion as I am looking to appeal to their needs and wants. 6. Role C) Modifying edited sequences innegotiation with my production teamI first worked on the audiencefeedback, my first task was to quickenthe pace of some of the sequences,as they were to slow. I did this byusing the style of editing: fast cuts. Idid this by right clicking on thetimeline, awaiting a menu which hadthe speed and duration of eachsequence. Then clicking on speedduration and added a speed of 200%to make the sequences twice as fast.This reduced the sequences spaceon the timeline as it used up lessminutes. It was crucial that fast cutswere done not only to grab ouraudiences attention but to also createa montage which is a editingtechnique we had previously stated inour storyboard and statement ofintent, a montage allows us toestablish the genre of our mediaproduct, as this is a typical conventionof all action/ crime and urban trailers. 7. Role C) Modifying edited sequences in negotiation with my production teamAs I began to work in the timeline or source window, I had come to rely upon In and Out points toaccurately edit. These two points can clearly define which part of a clip you want to use, whatsection of the timeline you want to replace, or where to remove footage. Here are the mostessential commands that I used in editing each sequence: InPress I to add an In point, I used this as a marker of where I wanted my clips to start from,this helped me cut out any insignificant footage previously. OutPress O to add an Out point. I used this as a marker of where I wanted my sequence toend, this helped me create a sequence of useable footage that I could then drag onto my timeline. 8. Role C) Modifying edited sequences innegotiation with my production teamI continued to edit the trailer using fast cuts by speeding up the editing and payingclose attention the running time of the trailer, as it had to be under a minute long.Thus, I did this by using the monitor to re-cut sequences, me and my production teamthought was insignificant or too long and then dragging them onto the timeline to seehow long each sequence lasted. I did this because in order for the trailer to fit theconventions of a action genre it is crucial we get some of the narrative in the trailerbut still leave some interest and questions to persuade the audience to watch the filmyet at the same time our audience feedback told us our storyline wasnt easy to followor understand. 9. Role C) Modifying edited sequences innegotiation with my production teamOnce, we added the fast cuts to the beginning of the trailer, I then played the whole teaser trailer tosee if it had made a difference. Whilst, the trailer was playing I wanted to work on the secondcriticism that was given to me from our target audience which was that the storyline was not clearto understand. I noticed that some sequences had been in the wrong order when comparing it tothe initial storyboard. Thus, I had to look back at the initial storyboard and change the scenes inaccordance to how we previously designed them in chronological order. I did this using the projectmonitor which organised each sequence in chronological order. This helped me to find the clips Ineeded to change and drag them on the timeline. Me and my production team in negotiationagreed that we needed to have the phone call sequence after the establishing shots, as lookingback to our statement of intents, we wanted to follow the 5 stage narrative structure. This helpedto convey our narrative more clearly and effectively. 10. Role C) Modifying edited sequences in negotiation with my production team Some of our sequences, whilst watching the teaser trailer had badlighting that did not allow us to see the moving image as clearly aswe wanted. Although, it was still prominent and visible, it lookedamateur and looking back to our initial storyboards and statement ofintents, lighting was a key feature in our trailer as we wanted, highkey lighting to be used throughout the majority of our trailer to give ita Hollywood Effect. Thus, we decided to use a tool calledShadow/Highlight which makes it easy to target your adjustments.This is a powerful and intuitive way to fix troublesome footage. Hereare the steps, I undertook to transform bad lighted scenes to highkey lighted frames. 1. Drag the Shadow/Highlight effect onto a clip that is too dark. 2. Uncheck the Auto Amounts box to take manual control. 3. Twirl down More Options to access advanced control. 4. Adjust the Shadow Tonal Width and Highlight Tonal Width sliders.The range defines which areas are affected (the lower the number,the tighter the range). Before and after of using the Shadow/Highlight effect tocorrect poor lighting. 5. Adjust the Shadow Radius and Highlight Radius to create atransition area between selected and non selected pixels. 6. Modify the Shadow Amount to lighten shadows in the image. 7. Modify the Highlight Amount to darken highlights in the image. 8. Enable Temporal Smoothing to a few frames to analyze adjacentframes when adjusting tone. Using a higher value can compensatefor sudden changes in the scene. 9. When you brighten a clip, it has a tendency to get washed out.Boost Color Correction to restore saturation to the effected areas. 10. Use Midtone Contrast to increase the amount of contrast in theclip. 11. Role C) Modifying edited sequences innegotiation with my production teamUsing the high key lighting also prompted, me and my production team to use the Blending Mode tool. We used this because some of ourscenes were shot at night, Blending Modes can lighten especially dark video, and make it more high quality in saturation, this will help us fulfillour initial aims of producing a high quality, professional trailer as the cinematography is competent. I used the screen mode to lift the detailsout of a dark shot by essentially dropping out the details that are darker than the shot below. This means that brightness can add up withoutintroducing significant grain below. I then:1. Selected the desired clip in the timeline2. In the Effects panel, searched for Calculations.3. Dragged the effect on the selected clip and open the effect in the Effect Controls panel.4. Twirled down the Input property and leave Input Channel set to RGBA.5. Twirled down Second Source and leave the Second Layer set to the default value. Set Second Layer Opacity to 100%.6. and Changed the Blending Mode to Screen or Add.If the shot was too light, I reduced the Second Layer Opacity slider. If the shot was still too dark, I copied the Calculations effect in the EffectControls panel and pasted a second copy onto the clip. 12. Role C) Modifying edited sequences innegotiation with my production teamLooking at our research and analysis of real media trailers, I noted that professionaleditors often try to avoid changing pict