Learn Movie Trailer Editing: Film And Edit Your Movie Trailer | Olaf De Fleur | Skillshare

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Learn Movie Trailer Editing: Film And Edit Your Movie Trailer

teacher avatar Olaf De Fleur, Filmmaker & Creative Coach

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Class Intro


    • 2.

      Class Project


    • 3.

      Trailer Beat Sheet


    • 4.

      Trailer Blueprint


    • 5.

      Create a Slice


    • 6.

      Create a Nugget


    • 7.

      Trailer Structure


    • 8.

      Trailer Vocabulary


    • 9.

      Trailer Language


    • 10.

      Introduction to our Next Level


    • 11.

      Edit a Slice


    • 12.

      Edit a Nugget


    • 13.

      Favorite Tools


    • 14.

      Favorite Tools: Empty Mind


    • 15.

      Favorite Tools: Theme


    • 16.

      Favorite Tools: Genre


    • 17.

      Favorite Tools: Poster


    • 18.

      Favorite Tools: Fairy Tale


    • 19.

      Favorite Tools: Storyboard


    • 20.

      Pep Talk!


    • 21.

      Edit a Sequence


    • 22.

      Edit a Nugget Sample


    • 23.

      Pace & Rhythm


    • 24.

      Edit Point


    • 25.

      Fishing out Trailer Moments


    • 26.

      Differentiation & Disruption


    • 27.

      Visual Focus Point


    • 28.

      Sound Edit: Nugget


    • 29.

      Sound Edit: Sequence


    • 30.

      Sound Edit: Background


    • 31.

      My Trailer: Introduction


    • 32.

      My Trailer: Storyboard


    • 33.

      My Trailer: Theme & Poster


    • 34.

      My Trailer: Genre


    • 35.

      My Trailer: Fairy Tale Tool


    • 36.

      My Trailer: Nuggets


    • 37.

      My Trailer: 1st Edit Session


    • 38.

      My Trailer: 2nd Edit Session


    • 39.

      Class Recap


    • 40.

      Class Wrap!


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About This Class

My name is Olaf, I'm a professional trailer editor and filmmaker with over twenty years of experience. I love making trailers, and in this class, I share my process, my toolbox through small steps. Each lesson is designed to be actionable, to inspire you to learn by doing. We'll demystify the trailer making process.

The Class Project is completing a 1-minute trailer.

After this class, you can apply the skills in all areas of your creative realm, from creating a presentation, for a film concept or a business idea, increase the quality of visual marketing and your social media story.

This class is for beginners and for those who have some experience. All you need to begin this class is a pen and paper. Later in the course, we'll invite you towards using an editing software.

Here are some of the things you'll learn in this class:

  • The fundamentals of creating a trailer
  • A preparation process before starting to edit
  • Develop the clarity of concept & idea
  • Make an impactful short-form content 
  • Increase the quality of your visual presentation skills

Take a deep breath, shoulders down. Let's dive into the magical world of Trailers!


-> EXAMPLES OF MY WORK as a professional trailer editor:



- "Olaf's experience and compassion is a unique resource for all who are open and ready" Giancarlo Esposito, actor, Breaking Bad

- "Olaf's coaching helped me realize I was ready to write my first film. What for many years seemed daunting, became possible because of his expertise and warrior spirit." Suilma Rodriguez, actress

- "Olaf's ability to see beyond the surface is like conjuring. I am forever grateful for his pragmatic, and expansive guidance." Jesse Megan Eidsness, CEO of Wild Love Apothecary

- "I mentored Olaf and I'm happy he's spreading his wisdom" Dr. Jeff Spencer, The Cornerman Coach

Meet Your Teacher

Teacher Profile Image

Olaf De Fleur

Filmmaker & Creative Coach

Top Teacher

My name is Olaf de Fleur. I've made twelve feature films in my two-decades career as an indie filmmaker. I've worked with actors like Academy Nominee's Florence Pugh (Black Widow, Little Women) and Johnathan Price (Brazil), along with James Cosmo (Braveheart), Michael Imperioli (Sopranos), Giancarlo Esposito (Breaking Bad, Mandalorian).

I focus on teaching the building blocks, the fundamentals of visual storytelling. My passion is protecting and nurturing your competence by sharing my experience. For more FILM & WRITING resources, you can visit my website: www.defleurinc.com

I hail from a tiny town on the west coast of Iceland. Where I was taught manners by sheep and f... See full profile

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1. Class Intro: In this class, you will be doing a one minute trailer. Trailers can help me convey complex ideas in a split of a second. Making trailers has been the key component in my career. Being able to explain my ideas visually in a short amount of time has both helped me finance my own projects and make commercial trailers for plans. After finishing this class, these steps of trailer filmmaking will become clear to you. We will dive into the complex visual language of trailers. We will analyze it, break it down, break it apart, and put it back together. You're going to learn how to create short image sequences that can transport the viewer into a new world, to help you understand your own world, and be able to translate it to others. Learning how to create trailers is a skill that can help you in all areas of your creative life. You can also use it to increase the quality of your presentation skills, to convey a business idea, to make a better social media story, the benefits are endless. Studying in this class will be really easy because at the minimum, you'll only need a pen and paper. Later on we will want you to move into an editing software, but at the minimum, only start with a pen, a paper, your imagination, and your desire to take on and demystify the magical art of trailer making. Come on, let's go and start studying together the magical craft, the art of creating trailers. 2. Class Project: Thank you for joining this class. Let's list out the resources and go over some of the restrictions and what you need specifically to start your journey into the magical powers of trailers. The class project for this class is for you to complete a one minute trailer. So before we go a little bit deeper into that, let's first talk about how trailers can help you. The art of making trailers is not only secluded to film and TV. You can also use it if you're presenting a company project, a new product, for a presentation that is. You can use it when you do home videos for your family, just that not getting up, contracting, and bringing clarity to your ideas. That is why we make trailers. We want to conform with all the mass communication there is going on in all of these places. I'm not going to mention social media, even though I just did. There's more higher demand in making things more clear. Trailers are not only for your creative world, it is also for your personal internal world. You can extract what you want to say in a more clear way. The outcome of this class is that you will be doing a one minute trailer. We want to restrict you to one minute to make this course manageable. It is always easy to get a little bit overwhelmed when we're learning a new craft. That is why we have this limit, and that is why we are going to build up your confidence in small action steps. We will start small with simple exercises where you only will need your mind. After that, we will combine these two things, exercises and theory, and gradually increase the challenges as we move along. I would like to suggest that you think about a trailer you want to do, which you can do in this class while you take it. It doesn't matter if you're a beginner or if you have experience. You can learn this craft by using pen and paper, or using your mind. Ideally later on, either after class or during the class, if you're not familiar with it, you'll want to start moving slowly towards basic editing software to master your skill. But this class is not dependent upon it. You can start with pen and paper and learn the craft. That is the most important thing. In this class you will have access to material that you can download. I also want to challenge you along the way to film your own simple short clips on your phone, for example, working with your own material can be very beneficial. Starting in this course will be really easy because in the first lesson, if you only take the first lesson to heart, you'll have understood the most important philosophy behind the trailer. In this course, we're just going to be starting with a couple of exercises where you will only need your mind, which is a pretty expensive editing tool. But you're going to start simple, so see you in the first lesson. 3. Trailer Beat Sheet: In this section, we're going to talk about a trailer Beat sheet. A part of this course is breaking down trailers into sections and concepts. What I want to do in this chapter is give you a little roadmap. It's a trailer beat sheet, so this is something that is not any truth. You can just use it for consideration as a guide that you can feel free to break and form to your own sensibility. 4. Trailer Blueprint: As an introduction for this session, imagine a trailer. A trailer is made out of several filmic shots. And for this exercise, we're going to chunk it down into a couple of concepts. Let's say a one shot and a sound beat, and sound together. Let's call that a slice then 3-6 shots. We can call that a nugget. Then we have something called sequences, which can be three or four nuggets, and so one and so forth. Let's analyze one short example just for clarity before we start doing these simple exercises. Here we have a brief example from a famous cartoon, I'm just going to call it as I see it. This is a slice, slice, slice, slice, slice, example of slices. All these slices that I mentioned, they form a nugget. Then the whole opening sequence of this trailer is indeed that, a sequence. This was just a little taste. Now let's jump into some simple exercises where we are going to create a flies and a nugget only using our mind. 5. Create a Slice: In this first exercise, we're going to demystify the trailer making process a little bit. If you do this exercise, the rest of the course will, I'm trying to find a metaphor, will feel like butter. We want you to find one item anywhere in your area. So take your time and find one item. I have first, I have a pen. Here is the magic formula. Pick an item, any item in your surroundings; think of one word and think of one sound. So in my case, I have thought of a pen. One word is the word pen, and then I thought of a sound. Very original. Boom. Now, take these three items. So in my case, I have a pen. Here it is, an image of a pen. Then I put the text here, pen. Then I put my very original sound here, boom. By doing this exercise, you have learned how to create the most important part of a trailer. Trailer B to trailer shot, what I like to call a slice. So remember the word, the word of the day, or for this section is the word slice. So congratulations on this first half and trust me, if you have this down, we're good to go. 6. Create a Nugget: Now again, before we start, and I promise that we will start this course at some time in the near future or even in the next lesson. But because you did so well with the slides, let's do the next thing, which is called a nugget. It is as simple as this lies and we use the same magic formula, picking an item, text and sound. The only difference is that we multiply it by three. Let's dive into it and talk about nuggets. The most common tool that we're going to use is the number three. Three, three, three, 3x, three this, three that. We're taking this pen here and we're going to create a camera with our fingers. This is a pen, and we're going to take this camera, we're going to film three shots of this pen. Shot number 1, for example, is wide, shot number 2 is close, shot number 3 is up like so. It doesn't really matter what kind of shot you do, it just have to be different. We're going to use the editing software in your mind. We're going to take these three shots. You will be creating your own example. I'm just going to work through this example. Again, we are going to the number three. Find three words, only three words. It doesn't really matter what words they are, they will eventually make sense. Just pick them out. In my case, I have a pen. Power is art. I'm just placing on this timeline, power is art. Wide shot of a pen, close-up of a pen, shot up of a pen. Then three words, power is art. I got the three and three. Well, again go into the number three using three sounds. First, we are going to find an atmospheric sound, just like the silence in here now, almost silence, and we're going to create a song. Then were going to put under this little sequence. I want you to make up a song. In my case, a song would be, don't steal the song. Something tells me that you're not going to. Anyway, we have silence. We have this amazing song. Maybe not amazing. Anyway, then we're going to do special sound effects. You have three words, three shots, three sound layers. So let's play this sequence through. We have three words, power is art, shot of a pen, shot of a pen, shot o We have atmospheric sound, we have the amazing music, and the sound effects. So with each word here, the sound effect, power is art. Just like that, we've created the essential, I don't know what to call it, a nugget, little nugget ball of three things: three shots, three texts, three sounds. You'll notice that these nuggets that we'll be using and exploring later on in this course is going to work in teams of three. 7. Trailer Structure: In this chapter, we're going to talk about trailer fundamentals. What it is, and how we break it down. Let's look at some of the basics. A trailer is just like a film. It is a series of shots. Trailer has similar structure, it has a beginning, middle, and end. Within these three acts, just like a film, a trailer, simply, this is a film and trailer is a contracted version. This might sound obvious, but we need to be thorough in order to demystify it. One of the reasons why it can be challenging to create a trailer is because it needs to serve the same principles as a film, but in a much more contained form. Going over some of the basics, a trailer has three acts, a beginning, middle, and end. In the first act, we can set up a teaser, which usually comes right at the beginning, something to invoke curiosity, to get the audience to lean in. In Act I, we are focusing on setting up a world. In Act I, we can set up the characters. We can set up what is the normal world. When does this film take place? Who is it about, and so on? In Act II, we can bring in something that threatens this normal world. What is it that happens, or threatens the normal world? What is at stake? If this threat is not dealt with, this obstacle, what will be lost? In Act III, we can bring these two together, the normal world, and the clash, and the result of it. We can hint at a solution. We can hint that, or rather threat, no solution. We can also dash in a promise of a solution and a promise of a coalition. 8. Trailer Vocabulary: In this chapter, we're going to discuss a little bit further the vocabulary we have gone over: slices, nuggets, and so on. Just to cement it in, I'm going to show you how that vocabulary can be used to analyze the blueprint of a trailer. This vocabulary is nothing more than tools it is made up, but it's been very practical for me. I'm going to share it with you here visually in an editing software. A trailer is basically this, nugget and so on. From slices to nuggets to several nuggets. From a nugget, we get here what we call a sequence of shots, sequence of nuggets, in this case. Sequence, nugget, and then of course, under nuggets, to do some reverse engineering, we have a slice. This is slice. If we zoom in here, and then a slice would be, you might have guessed it, something like this. A nugget can have all these slices. Let's fix this here. A nugget, a slice like so. There we go. A trailer is sequences made out of nuggets. In each nugget, we have several slices. Let's put it like so. Slices like so. These are slices. Boom, there we go. We have a sequence with, I would say is probably like so. Let's just look at it more closely. We have sequence, nuggets, and slices. 9. Trailer Language: In this chapter, we're going to talk about trailer language. The difference between process language and symbolic language. Even though our trailer is a mini film, the difference between the languages of a feature film and trailer is that a feature film has what we call a process language. A trailer has much more of a symbolic language, more iconic. The aim here is to allow things to resonate with the audience; and in order to do that, we want to use metaphors. We want to put clear images that will linger in the air after you watch the trailer. 10. Introduction to our Next Level: In this section of the course, we're going to be taking things to the next level. In the beginning, we were using our imaginations to do our slides, to do our nugget. In this one, we're going to be filming something, ideally. If you don't want to film anything then you can use some of the footage that comes with this class. I will be showing you directly into Falcon Pro where I'm editing these practices. Remember, you don't have to jump to an editing software. You can write it down what we're doing. Because in essence we're just practicing structure and looking at the subcategories of a trailer structure. I do encourage you to film your own material if you don't want to, do it anyway. 11. Edit a Slice: In this chapter, we're going to create a slice. A slice is that minute little thing that trailers consist of. We're going to look at it in an editing software and we're not going to play anything fancy in terms of style or anything. We're just going very raw and direct with it. Here's my material from my iPhone and here is our picture of a lamppost. Let's look at it. Right now we are going to create what we call, and we'll call throughout this course, a slice. We're going to adjust the duration for the shot, let's say about three seconds here for the sake of this exercise. Right now we have one element here out of three, and we are going to now create a text, and let's find one word just for fun. I'm just going to make it up, the lamp or something like that. Here we have the title. Shorten it, but we're not going to get destructed by changing the font, we're just going to continue. Just make it a little bit thicker and let's replace it a little bit. You'll notice that I'm going to detach the audio from the clip, and now we have the audio and lamp right here. I'm going to throw in the audio, and now you'll see we have three elements. We have text, we have a clip and we have audio. We're not doing anything fancy, we're not adding any effects here at the moment, which is doing this simple purity of what we will call a slice. We're taking the slice text away now, and I'm just going to show you quickly what we can do with this super simplicity. Let's play with this slice a little bit. Decrease this one, lengthen the text, for example, and we can add a fade here at the end of the text. This is a technique very often used in trailers, where you fade the text at the end and just cut directly into the edit. 12. Edit a Nugget: In this chapter, we're going to create a nugget. As you now know, we have nuggets, we have slices, we have sequences that make up a trailer. Now we're going to create a nugget that in our exercise consists of three shots. Here we have the first exercise we did and now I'm going to get all the material here of the lamp post, put it right here. Right now, I did three shots of the lamp post and what I did was, I made two versions of each shot, which is, for a wide shot, I did this type here, one still, and then one moving pixel. Then of the closeups, I did one still. This one is probably the same. Now, this is moving and what's that one? That's to the side. So one still and one to the side. Then this one here, only the shot up. This one is what? Put this one aside. This one is still and this one is little bit moving. I have three sections. I can choose if I want to have still moving, still moving, still moving. So I have three shots here, now we're going to start by checking the duration and how they look. First one, so I'm just going to have this duration almost, not three seconds to around 2:20. I'm just going to guess here, around 2:20 and here around 2:20. So here we are, we've got these three shots. Here we go and I want to see the audio and I want to detach the audio. Then I'm just going to momentarily disable the audio. I'm going to look at the shots, nice. Little [inaudible] here is the car. I'm going to show you how we use that. We're not editing a scene here, we can play with it a little bit. Let's start by just going on a gut feeling a bit here. Go, boom. So you just got to feel it to your own sense when you want to cut it. There you go and I like editing, just disrupted here, not allow the car to completely go out of the frame and then we all have a lamp post here. Right now, we have these three shots and it is really important here not to think too much on what you're doing. At least, in my case. I want to put thought away a little bit and just go a little bit into our hands. Here's the text sign we did earlier. I'm going to copy it here. Soon back in like so and just see what happens. Think about three different words that we want to put in here. I'm just going copy it here and away with this. Three words. Move this basic title here. Let me see, let's go into Lamp, that's number one. This one is called Is, copy paste Light. Now we should be able to see these layers here. This should be lamp, almost two seconds. So play it, Lamp is Light. Remember that we're chunking down and demystifying trailer for film making. This all might seem very obvious to you what we're doing but we're really trying to re-understand the simplicity of it. Because we get very much ahead of ourselves and when we do, we quickly get overwhelmed. I'm being very loose with it. I'm just going to play now, Lamp. [inaudible] the edit is there. There's no right or wrong ways. It's just what works for the material. This is supposed to be here. Now put some audio in here. Usually, I would not use a lot of the real sound here. But because we're breaking it down and being simple, we are going to restrict ourselves into using it. I'm going to enable and to see what this sound does here. Fit in here. I wonder if the car can help us here. Yeah, how long is that? See how this rolls and I'm just kind of guessing how long does the car go here. Play it. I'm pretty happy with that. What we've done now is taken the exercise we learned by doing one slice, we've taken three slices, and created a nugget. For fun, God forbid, we have created a nugget. This is what we've done, this is a nugget. 13. Favorite Tools: In this section, I'm going to list out some of my favorite tools when it comes to editing. Favorite small tools. In the next few sessions, we will go through these favorite tools step by step, one at a time. In this round, I will focus on introducing you to the tools. Later in this class, I'm going to use these tools in real time on a direct actual example for the trailer that I'm doing for this class. 14. Favorite Tools: Empty Mind: When I start to prepare for a trailer job, I start by writing everything down I know about it, big and small. What is interesting when you do that is you get everything out of your head and then it becomes like seeds that start to contribute into your work later on. Mini example could be hypothetically a trailer about elephants. I would write down everything I know about them, big and small. Small would be, what color are their eyes? An example of something small. Then for big, I would just think about what is the history of elephants? How they developed through the centuries. No matter what you're working on, if you write down everything you know about it into these two categories, big and small, then you get a lot of cluster out of the way. That's a point to increase clarity by throwing everything out of your mind. 15. Favorite Tools: Theme: In this section we're going to talk about the magical powers of theme, and how it can help you understand your approach towards your trailer. My friends always tell me, "Oloff, stop talking about theme." Because that's all I talk about. It took me a long time to understand how important theme is in everything you do. Theme is truly the magical tool of all concepts. As a tool, theme usually, if not always, comes in the form of a question. Theme will help you think about the question in the trailer, because a trailer is essentially that, it is a question and it needs to be urgent, so those who see it, will feel the need to respond to it. Very often, themes can be very big questions. What is the meaning of life? That can be a little bit too general, but it can be a starting point. What is the meaning of life?.Then you have a character. Then it can chunk it down into the character, and ask, what is the meaning of life for this character in this situation? Or can the character find meaning for his or her life in these specific conditions? 16. Favorite Tools: Genre: There's great power in thinking about the genre you're working in. Identifying the genre for the trailer, can help you in many ways. Genre, for example, is the thing that can hold the whole edit together. A clear genre will help the audience move into the story instantaneously. They will not have to digest what kind of film is it, they'll get it immediately. This is pivotal because when we're doing a trailer, we don't obviously, have a lot of time. The more clear you are on your genre, the quicker it's going to work for you. 17. Favorite Tools: Poster: The next thing I do is usually think about, what is the poster for this concept that I'm making a trailer out of? Even if I'm doing a trailer for someone who already has a poster, it doesn't matter. You create your own. This goes back into the language thinking, symbolic thinking as opposed to process thinking. We want to be symbolic in our mind. We want to find a little icon that can be translated into a poster and when you have it, then it's going to be yet another contributor to your editing phase. If your idea was a movie, even though you're doing something else, how would the poster look like? Draw it out even. 18. Favorite Tools: Fairy Tale: In this section, we're going to talk about the fairy tale tool and how it can help you clarify the concept you're working on. If I have a complicated concept, be it in my own projects or someone else's, then I always start by thinking, how would this sound if it was a fairy tale? Because if you cannot tell yourself the story or reinterpret the story like you would to a child, then it's really worth it to take a second look at it. So this is something I do again and again and again when I'm editing. What is the fairy tale version? Usually, just takes time to find it. 19. Favorite Tools: Storyboard: So a couple of more tools that I use in the preparation phase is I storyboard it out. For example I don't do a complete storyboard all the way through all the time. Usually, if I start doing storyboard, it's going to relax me. It relaxes me in a way that I feel a certain relief when I start drawing the pictures and typically I only do three images, maybe six images. That's enough for me to get the key symbolism of what is going on. Storyboarding can become this abstract contributor of you inching towards more clarity. I also use writing. Sometimes I just write the trailer out like it was a film. A man stands in a garden, flash frame, cut to black, the text sign, and then we're in some city, so I will just write it out. What I am suggesting is you don't have to use all these tools. You will know which one of them will help you the most. So I encourage you to check them out and try them out like instruments and play around with them a little bit and you'll notice that it you'll start to relax into the story, into the concept. 20. Pep Talk!: But going through the first lessons, we've laid some groundwork. Even though the next lessons might seem bigger or even complicated because you're working in the software, we're going into theory, but trust me, if you went through the first ones, and you did okay, which I'm sure you did, it's going to get easier. Stay with me, and remember, think about the one-minute film you are doing for this course, and work on it during the course while you're taking it. 21. Edit a Sequence: In this chapter, we're going to work with a sequence. I have a little homework for you. I want you to go out and film six to twelve shots with a human subject. That is six to twelve shots, ideally twelve shots with different angles. A bonus task would be to record thirty to sixty seconds monologue from that human subject. We're going to use that sound later when we go over the sound for the sequence. But first, the editing. It is optional if you've gone out and shot your own kind of stuff, which I always recommend is to give you a hands-on intimate experience. In case you have not, I have done this myself and the task was to find a human subject and film it from three angles and do it several times. All in all it will have all six to twelve shots to work with. Here we have my six shots. They're here. First of all, let's look through them. This is a friend of mine and myself playing football in the rain with a lot of social distancing. First of all, I'm going to take the sound down and I am going to increase the frame size like so. What I'm going to do because this material is rather dark, I'm going to lift it up a little bit. Color is lifted up. How much it can handle? This is shot on an iPhone, on a filmic pro. There we go. A little bit too yellow, so I'm going to make it blue. That's a nice one. Let's put this one here. Saturation a little bit down. I'm happy with this prototype. Because I've taken the sound down here and given a color and resized it, I'm just going to, as usual, going to edit and copy it. Then I'm going to paste the attributes. There we go. Then we have it all the way through him. A man stands in the rain. This movement, I'm just going to work through it see the shot here. It's nice. When I skim through like that I'll see what movement is working for this one here. I'm going to isolate this one. At the end, I'm going to limit it to 2:20, the magic number. Check it out. That's good. Let's check the next one. Slow in here. We'll just start, just around here. Like so and then the magic number, around 2:20. Place it here. I'm just going to move these clips here. Look at this one. Light down is better. Here we go. We start like so. 2:20. Next one, ultra close movement. Light goes down, do I want that. Might be a little bit too disruptive, so I'm not going to do the and the light goes down. There we go. Next one, look at it. My poor friend Hugo showing bravery there. Here in this shot I'm doing two options of a shot. I'm just going to go here. There we go. Just check it. One, two, three. Mid movement One, two, three. There we go. We go to our famous magic number second. Yes. Very nice. Up to the next one. What am I doing here? Nice rain. Here is the mid movement. Boom. It has taken place. Boom. There we go. Check it here. This one is nice. The movement here is nice. It breaks up the regularity. Magic number. Just about. Then we go this one, different angle. Good. Different angle. Here all is good. The jumps like so. That's good. We have this ones here. I'm just going to take this chunk away because I remember that this one is what I want. Rain, rain, rain, rain, rain. Here we go. This one is nice. I'm going to take one empty here. There we go. Once upon a time there was rain. Stop. Immediately I think I should put that at the front. I don't know why. Then you will see a man coming here. Here he comes. Just before all right as it kicks it, I'm going to just want something different with the kick. Let's look at this one. Ball rolling, was that. He kicks it. He kicks it like that. I will kick. Look at that. We cut a bit or we hide it. Here we go and there we go. One, two, three, boom. There we go. Like this one. I'm just taking everything that I want to play with here. What's this? There we go. Boom. I've now from this collection gotten. Let me see. One, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve shots. There we go. Twelve shots here. Now let's roll through it. As we roll through it, this was the exercise, take six to twelve shots and delete twelve with a human subject and if you remember correctly, there was a bonus task of recording an audio from thirty to sixty seconds, which we will use in the sound edit. As we roll through it, let's wrap it up for this session. 22. Edit a Nugget Sample: In this chapter, I am going to create one more example of a nugget from a documentary that I'm working on. Just polishing our nugget understanding and skills. I'm right here in Final Cut Pro. I just want to note that even though I'm using Final Cut, you can do this in any editing software. Because we're focusing on the basics, I'm just going to look at a couple of clips and how I edit them together. This is a material from a documentary I've been working on. In this scene, a man in his cut and there are butterflies and he decides to fill them on his phone. Take the first clip and just look at that, man with phone and there are butterflies. Second clip. A man says, "Wow." I'm just going to hit "Undo" a couple of times. Back we are, splitting together. I just want to show you how powerful it is to use sound when you edit. Let's take down the sound from these two cuts, making it silent, and enable the audio that I recorded on external mic. Beautiful. Right now, I'm going to get some other cuts here. Let me see what else did I have here. Here's the shadow, and I've enabled here, the audio for all the shots. It's going to take them all and bring them up to back here. Notice, when I place it here, I am having the sound overlap a little bit on these two. Zooming in. I'm having it fade into each other. Otherwise, it's going to be some little muddy. So let's look at the scene a little bit. Wow. Come to papa, king and butterflies. This is amazing. There was a black frame there. Let's fix it. Zooming it. Boom, there's another one. Let's go again. Come to papa, king and butterflies. This is amazing. Let me close my mouth before one of them fly in. 23. Pace & Rhythm: In this section of the course, we're going to be talking about pace and rhythm. Let's start with a general discussion about how we make sure that the audience is keeping up with the story. Not being in too much and not too little. Editing and narration, they work best together when each time something new happens, every time the audience can catch up with the story, we've dropped the ball. So we want to make sure that the audience is always playing catch up. This can go two ways, you can go too far ahead of the audience where they just miss the bus, or you can be a little bit too slow. So we're always looking for that range, and the best way to check that range is by testing. Have people look at it, think about it, use time, put it aside, look at it again, and so on and so forth. This testing phase is usually the difference that makes the difference. 24. Edit Point: In this chapter, we are going to talk about edit point. That is, when is the best time to edit out of a scene, a sequence, or a shot. Whenever we edit a scene or a sequence, and especially in trailers, the take away from this lesson is we always want to leave on a high note. That is, we want to edit out of a scene, sequence, or any section in a trailer where we are just about to reach a form of a high point or a climax. This edit point can be just before the middle of the shot, same sequence, or just after the middle. Here is where trailers and film sequences differentiate. In trailers, we almost never want to finish the point of the sequence. If you're doing a scene in a film, then you might want to conclude the scene. In a trailer, you rarely, if ever conclude a scene. We want to leave on a high note that usually occurs just before the middle or just after the middle. 25. Fishing out Trailer Moments: Part of working with Edit Points is also related to picking out highlights from a scene that can work in a trailer. One of the methods that I used quite a bit is working through all the film that I'm working on and picking out these audio bites. Very often, I pre-edit the trailer only using these audio bites. As an example, let's look at a scene from one of my films and pick out the sections that can work in a trailer. Let's start by rolling the scene. What do you think of these? I picked them up at the airport. I'm not so sure now. You haven't got yourself into trouble? Have you? Looking to stick me with the bill? Still living in London with Becky? You should have stayed working for me, Gunnar. Yeah. Well, look at you now, totally stressed out, thinking of early retirement. Why don't you move away, start again. No, I'm out. Done. You got any underpants on? Try these on for us. How is William doing? Good. Now, I already spend enough time away from home as it is. Why would I want to spend anymore? You're the only one I'd like to sell to. Of course, I am. Let me get a second opinion on your business. I'll come back to you with an offer. You can keep the trousers. Now, let's go over the scene and highlight these sections or the audio bites that I would, for example, use for a trailer. Here we are, the clip, Let's roll it. What do you think of these? I picked them up at the airport. I'm not so sure now. You haven't got yourself into trouble? Have you? That's a potential sentence that I can use. I'm going to cut it here. There we go. You haven't got yourself into trouble? Have you? Looking to stick me with the bill? Just that line. Have you? This is one audio bite that we like. Looking to stick me with the bill? Still living in London with Becky? You should have stayed working for me, Gunnar. Yeah. Look at you now, totally stressed out, thinking of early retirement. Why don't you move away, start again? That's a good one. Of early retirement? Let's go here. Why don't you move away, start again? No, I'm out. Done. What? Just that section here. Why don't you move away, start again? I'm out. Done. We now have three audio bites. I already spend enough time away from home as it is. Why would I want to spend anymore? You're the only one I'd like to sell to. Of course, I am. Let me get a second opinion on your business. I'll come back to you with an offer. You can keep the trousers. This one here might be a sibling to this one here. Let's, for example, put these two together. Look at the audio. Like so. Put them together and see what happens. Why don't you move away? Start again? I'm out. Done. Let's look at this here. These are just little audio bites that we use in our trailer. When I do trailers, I would just collect these. Let me see, the first line, for example. You haven't got yourself into trouble, have you? Boom, this could go somewhere in the first act. This one here could be same. Why don't you move away? Start again? I'm out. Done. Boom, here. Let me go into the next section. Here we could have something like [inaudible]. Why don't you move away, start again. I'm out. Done. Boom. 26. Differentiation & Disruption: In this chapter, we're going to talk about differentiation and disruption, and how we can use these concepts as tools to measure and calibrate the pace of our trailer. We are essentially talking about the pace, the speed of the narration. It can go too fast, it can go too slow, and it cannot always be the same. When we are working with differentiation, we are also working with rhythm, with pace. If you think about a metronome, like tick, tock, tick, tock, we can use it as a frame of reference, mostly to see where we need to break something that is too mono, basically. For example, think about elevator music. You go into an elevator and there is [inaudible]. You can differentiate by creating a new shot. You can differentiate by using a new sound. Coming from the place of differentiation, having to do something new on a regular basis, we also have another tool called disruption, which is something is [inaudible] , just like taking a record and scratching it. The disruption can also help you when you are having issues with transitioning between two separate sections of a trailer. Let's say you have somebody in their garden, and then you're going to the North Pole. Editing from somebody's sunny garden to the North Pole can be a clunky transition. If you put any form of disruption in there, somebody's in their garden, North Pole, in their garden, [inaudible] , and then you're going to get to the North Pole. There's something about the disruption that resets the audience's attention span. 27. Visual Focus Point: Another form of differentiation is looking at your shots and looking at the frame and seeing what is left of the frame. I'm looking at your right, so I'm doing the left here. What is at the right of the frame? For example, if you have a series of shots and the main action is always a little bit on one side, then you need to break it up. We're not only thinking about disruption and differentiation in terms of pace or rhythm or even audio but also thinking about that disruption and differentiation visually. We want to make sure that the eyeballs are looking not always at the same spot. Again, it's like music. Here we are seeing an example of differentiation. This is a trailer for one of my films. Here we see this character is central, central from left to right, to the right. Central again and using still photographs to break up the rhythm. Here we are to the right, central again, photo again, central, central. Then we are from left to right, central, central, movement up to the left. Left, left, and then, we go left again. Now, we're central again, left, right, so on and so forth. We can change it up quite a bit. 28. Sound Edit: Nugget: In this session, we're going to work with the nugget that we edited earlier in one of our examples and we're going to insert now some sound work. The important thing here as always is to focus on the simplicity that is doing little things at a time. Let's see what happens. We have now done this here, which is these three sections. Look at them once more before we do something new. There we go. Now we're just going to show you a little bit of sound work here. We have this sequence here, and right now I'm just going to disable the sound here. I'm going to just find some music. Let's go here, music. Put it here and see what happens. There we go. Let us use this music. Just imagine this is a little section in a trailer, so we isolate it and fit it. This is the course here. Now we have music. Now let's do something else. Let's put in some effects. For example, here we have this one here. Let's put in some effects and listen to a couple of sounds. These are random sounds that we're going to play with. First of all, what is this one here? This just like an undercurrent thing. Yeah. Let's put it here. Let's just take away the music for a bit. I'm going to lower this down. Here. Even lower, like so. That's that one with the music. Then I'm just going to hear the heart monitor and see what that is. We're just playing around here. Here we go. That's it. This is one, let's try to play together and just see what happens. Okay. So there's a little bit of chaos. I'm going to remove this one. This is an overkill. Try it again. Let's do it listen to it separately. Okay, let's see how it works. Take this down a little bit more. Then we're going to go into some of trailer beats here. I'm just going to lower it here. Here you go. I'm just going to listen for a beat here. That was nice, let's use this one. This one in and out, place it here. Here we go. Take this one here and just disable this one and see what happens. That's okay. It's going to place it on the border here like so and see what happens. There you go, and then we're just going to repeat it. Go right here. Place at the beginning here and here. There you go. Let's move it a little bit and see what happens. Okay, nice. I'm just going to fade it out here to make it more neat or drag it out. Drag it out and drag it out. Fade at the end one more time. There we go. Yeah, dynamic. Let's try it with these sounds as well. Okay. Music is very much up to taste. What I'd like to do is take away the music and go silent, and make it neutral. Very nice. Let's even experiment with using the on-location sound. This one get caught. Okay. You can even lower it like so. Lower the on-location sound. This is the drone stuff. Let's look at it. Now you can see how many options you have in terms of sound. This is very much up to, again, both personal tastes and the project you're working on. By going through this, we're just going over giving you options on just how much we've elevated this simple stuff with just sound. 29. Sound Edit: Sequence: In this session, we are going to work with the sequence that we edited earlier in this course, and now we're going to go into a little bit more elaborate sound work. Just know that the effects that I'm using in this sequence is downloadable. Intentionally I'm keeping the sound as simple and raw as possible because we're building up our knowledge little by little by doing basic editing trailer work. Right here now into final cut again, we add the 12 shots here, and the bonus task was to record a voice byte and something that the human subject would say. I've done that here. This is simply Hugo right here. Here's what he says. A French poem. Say a French poem. That is my very mature direction. Lets listen. A French poem. [inaudible] This is very bad audio but that is on purpose because we're working with raw and simple. [inaudible] There you go. This is unusable for a production, but we'll use it. [inaudible] Let's see. There we go [inaudible] Let's take two right here. We're just going to use who goes polling here and see what happens. [inaudible] That's the poem. Even though it's bad sound quality, if I was doing this commercially, I would first record it like this and then have the person read it again. Maybe I'll just ask Hugo to do that. But as you can see, we are getting without really editing anything, some kind of a feeling here. Let's play with it. First let me see if I can fix this sound a little bit. Here we go. Go to audio, EQ. There we go. Let's have a listen. [inaudible] This is not professional sound editing I just played with a little bit to make the disturbances a little less annoying. Let's see. [inaudible] For example, we can hold on here and just start here. I'm just going to match the music [inaudible] played in a little bit slower. [inaudible] Just by feeling. [inaudible] By feeling. [inaudible] Start again. [inaudible] By feeling [inaudible] By feeling always, by feeling [inaudible] Putting it together like so. [inaudible] By feeling [inaudible] It's not finished with the poem and just because we're playing with it, we're going to keep it simple. [inaudible] Just to play around with it, I'm just going to make up some text. We're just going to put in here, and see what happens [inaudible] Making something up. I don't know what we will put here let me see. My friends name is Hugo we'll just call it. Yeah unless this put some font on it. Aesthetically with titles, usually I like having big fonts with small fonts. For example, this one I will take the lower one here, select it, and then just put it like that. Spit out a little bit. See what happens. [inaudible] Let's change the lower title. Yeah, let's make something up. [inaudible] We're happy with this what we're going to do is to disable this talk here for a moment, go into our sound effects. That's a good one. Let's take this one. Heartbeat never fails. Let's see what happens. A little bit too loud. Or just go and slow it down as well. See what happens. Here we go. Rather dynamic. Let's put the hookah in here [inaudible] Remember we're just going through playing with forum in order for you to then create your own forum. We're all just making a toolbox. Let's look if there is a space here for maybe an effect. Let's go here. Lower it. Let's use this one for fun. Here we go.This one here this like this, disable the sound here and just listen to the sound. I'll put a marker here where it ends. I'm just going to put here. Here we go. We lower down. Play it again. Let's play it with the other sounds. See what happens. First check. [inaudible] As you can see here with a play here, this even might be more dynamic. That's an option if we take out the audio because it isn't in good quality. Let's just play it like so. This is going very dynamic. What we're going to do now is to insert a little text just for fun. Say this one is called something like that. Three or two for fun. There's three random words and see what happens. These kind of words you can kind of plays in any order. You can do truth, seeking life, and you can do life seeking truth. These are good words because they don't require the viewer to digest them. Let's just place them random nowhere here. This one first, It's always cut into black here. See what happens. There you go. How does this go through? I'll just skip this shot here on this place. This one can disable. What is the duration of that moment of so much that the regime like so. Shorten these to so, and so what happens, there we go. I'm just going to take the last one here. That's the iteration here. This is somewhere around here. It's interesting now, this kind of my favorite shots here, but I don't think it's working, so I'm going to remove it. See what happens. Play it through. 30. Sound Edit: Background: In this exercise, we're going to work with background sound effects. We are going to be using some of the practice material that comes with this course. I do recommend always that you work with your own material, but it's nice to start with this one. Let's dive into it. We start by opening up a folder here with the material. Here I have all the sounds and the shots, and I've trimmed down the audio to a similar duration to the shots. I'm just going to start with the shots, they're right here. The shots here are pre-edited for this exercise. I'm going to put in the order that I'd like to have it. Start with a wind, and I wanted to go underwater here. Then here, and then here. I'm going to put the wind here, and the water obviously here, and then a little bit of seagulls, and then an elephant here. Let's play it a little bit. This is a little bit too early for my taste. I'll just nudge it a little bit, like so. Just by doing this with your hands is going to give you a little bit of feel. Let's adjust some of the clips here and we're going of course, into a little bit of detail, but that is the name of the game. Look at it. For example here, I would just want to hear the wind sound, and then I can isolate it, like so. To isolate the sound, like I was doing here for example, this one, this is a default situation. I want to isolate this one or listen only to this one, then I go up here. I think it is in clip and you go solo right here. Then it is solo. Okay. Happy with this one. Seagulls, let's do a solo there as well. Then the elephant. As you can see this can be delayed a little bit, something like that. Then when we insert, for example, a section like this into a trailer, then we are going to put the sound quite a bit down everywhere. We still have music to put in here, even narration if you want to. Look at it. This exercise is just a little bit of a wax on, wax off to give an insight into background sound effects and how to adjust them. You can see it is good to be organized. What I like to do is to first edit the material, find the shots, imagine the sound. Then afterwards I find the sounds and place them carefully. After I've done that, I tune everything a little bit down just so when you see the final version, you're just going to feel a hint of that sound. 31. My Trailer: Introduction: In this section, I'm going to work through the final version of the trailer that I'm doing for this course. We are aiming for one minute. Before we start that section, I want to ask you, how are you doing with your trailer? Remember, the more you work on your trailer while you go through this course, the more beneficial, the more deeper intake you're going to have of the tools that we are presenting. We're going to work through this in two sessions. First, I'm going to show you how I apply my favorite tools before I edit or when I prepare a project. Then we'll go into a full demonstration of putting things together, and it will surprise you how quickly things come together if you work through these tools. For this section, I'm going to use a real example that I'm working on, which is a great project to use as a case study. It is a documentary project about the effects of the COVID virus on my country, Iceland, focusing on the effect it is having. It is an obscure project, but it is a great project to use in this class. So let's work through it, go through all the stages. 32. My Trailer: Storyboard: In this section, let's start with the story boarding. Usually when I start, I try to find three key images. Right now I'm drawing up empty streets. As you can see, it doesn't need to be fancy, just something that you understand. The next item that comes to mind is a child by a window. I'm not sure where this comes from, but I just dictate the images I get in my head when I think about the project. Something about the window leads me to a drone shot to have an overview. Something about a distance. Observational. Right now I'm just going to exploring the whole concept. Usually when I explore my images in my head, usually no more than my brain or my verbalization of it. This is a little bit of a guesswork and try it out for testing all the tools. This is the storyboard. I encourage you to stop here and do your storyboard. 33. My Trailer: Theme & Poster: The next thing I usually want to do after I do the three images, I want to move directly into the poster. What is the poster for this trailer? I always have to go through the theme first. So let's discuss the theme for this project. It is an invisible threat in a virus, so it is like a monster in the society, but you can't see it. Going back to one of the storyboard images, I'm thinking a child by a window is telling you something. A child is innocence, so there's innocence by a window. A window is glass, a window is almost invisible so that's another clue for the theme. The window is invisible, the window is isolating us, but because the window is invisible, it doesn't seem like we are isolated. Even though on some level, we know that we are isolated. So we can go into tracking a question for the theme, which could be, what is the cost of isolation? We can go into a long form of question which could be, what is the cost of not knowing? The cost of isolation, and so on and so forth. Now, I have an inkling of a theme and from there I can move into the poster. So the first idea for a poster is this story about image number 2; a child by a window looking outside, knowing that there is a monster, but he can't see it. So maybe that's the poster for this one. I want to say, it is always developing, it never stops. This is just the first round using these tools, so let's move to the next one. 34. My Trailer: Genre: The next one could be working with or thinking about the genre. The head genre in this case, it's a documentary and thinking again about the storyboard images I did in the first session here, all the images that came to mind had a similar approach which was observation and distance. I had the empty streets, I had the drone shot, and then the closest was of the child by the window. What that is possibly telling me again, this is a lot of guesswork which can be excruciating. Just be patient with yourself. What this is telling me in terms of the genre is that it is a slow burner, investigative, observational. Something like that, I will have to start to edit in order to develop this thought. You're never really reaching a conclusion until the very, very end. Until then, it is all about being curious and investigative. This genre will also guide me in terms of the editing pace, even the cinematography, but in this case, because we're editing trailers, it will guide me in terms of the pace. Sound even, helps me with the sound, and so on and so forth. 35. My Trailer: Fairy Tale Tool: The next one we're going into is the fairy tale. A fairy tale tool is imagining that you're telling your story to a child. In this case, we're working with a trailer and we're thinking about the trailer story. I haven't thought about this on purpose. Once upon a time, there was a monster all over the world. The monster was invisible. The monster would scare grown-up people, but it wouldn't hurt any child. Because the monster wouldn't hurt any child, no, no, no. Even though the monster wouldn't hurt any child, it would hurt them in a different way, which was the children would watch their parents be afraid on the monster. The children started thinking, how can we protect our parents? The children don't know. I'm getting a little lost here as you can hear. Again, I'm just going to stop here, like with all the other tools, the fairy tale tool works like this. It moves you incrementally towards something that will then contribute when you start editing. Then when you start editing, you can, little by little start to conclude, for example, the fairy tale. I've done enough here, moaning through it. But just want to give you a live example of how this tool and the other tools work. 36. My Trailer: Nuggets: In this session, I'm going to start working on my trailer after having used all the tools, and I'm going to start by preparing some nuggets before I actually go into the story work of the trailer. Here we are in the final cut, and as you can see, I'm already way ahead of preparing my nuggets for the trailer work. Again, this is a raw material from Reykjavik, Iceland in the COVID situation. Right now, I'm just putting together the material here. Here I have, for example, empty places, here is a raw material for some of the filming we did of homeschooling; someone learning the piano. So I'm just going to select a couple of shots here. I might use the one shot, I'm not sure. Trim it around. Yeah, I'll probably use the one shot. So right now, I'm just preparing for the actual edit by creating all these blocks of footage. It's a little bit like working with Lego chips, preparing all these chips. Happy with this one. So as I work through it, I am of course, using our two favorite things that will help us categorize and measure the whole thing, which is using slice and a nugget. I'll just label a couple of texts signs here with these names, slice and a nugget. Right here, I have some footage of a helicopter. So what I'm doing is working through the material, creating these nuggets in order for me to then, when I actually edit it, that they are ready. That is that the nuggets are ready, so I can just create and play with the order of things. 37. My Trailer: 1st Edit Session: In this section, we're going to jump into the edit face. Enjoy the ride and remember to keep in mind working on your trailer while you look through this. Here in the beginning I'll probably do something, a logo. Let's just set the beginning of the trailer somewhere here. Mark it here, call this a logo. Here's the logo around two seconds now. Then we have here a potential beginning, which was the slice and the music here, is going to the east side, and just something like that. Test it here. We have an out code here. If we look at this edit here, what bugs me here is the blinking of the eye, blink. I'm just going to cut a tad earlier out of it. Going frame-by-frame, boom, like so. Check it. Here we go into a little bit of trial and error, I just look at sequences and I start testing them. Sorry, I look at nuggets and I start testing them up against each other. The thought that I have here is, after the beginning, there's a song. I'm going to check out the nuggets, empty places. I have several more but I'm just checking these first, empty places. I'm going to try that next. Putting in empty places like so. There we go. Here we have empty places. Once upon a time, somebody played the piano. While that someone played the piano, places that were normally full of people were empty. That's the fairy tale mini version at the moment. It's always an experiment. Here we go. Here I'm going to do a fade. What I really like here is, when I add it, I cut out of the shot, like so, cut to black. Then after the cut to black, the next cut has a fade. The duration can vary, but I'm just going to look at it. Right now I'm happy with this. I have to remember that our duration is one minute, for this class, so I have to keep within the duration. I'm just going to look at what is a one-minute. So I put, for example, a text sign here, like so. There we go. Call this a timer. What we have here, we have this one, logo, empty places. What could happen after empty places? I'm using my own curiosity as I work through it. Once upon a time, somebody played the piano, places that were normally full are empty. What can happen meanwhile? Maybe the helicopter? No. What we have here is possibly this one here. While everything was empty, teddy bears were relaxing in the window. Not teddy bears, technically, I think it's a duck maybe and a giraffe. Putting in a fade here after the cut and seeing how it works. Well, places were empty. The only living things around were muppets or figures. How many figures? The only thing that was around were muppets and figures. We could hear maybe a helicopter sounds from a distance, maybe. There we go. Trimming it. Just trimming by sense. What I sometimes like to do is to mute all the sound, and just roll quickly through it, like so. Double speed. Logo, boom, boom, piano, boom, boom, empty places, boom, boom, figures, boom, boom. Wild figures, something strange is happening. Our fairy tale is taking form. The hospital is a little bit to the left. Almost central and almost subtle. I'm just checking the variation factor. Here's another nuggets. Song is muted for the moment. Let's take this here and see what happens. There was a helicopter, boom, boom. Here we have some people who use our fade, boom. I'm just going to fix the frame size here. Like so. Cans, cans. Right now I don't want to start with a human being. I will just start with an action which is the cans here. Boom. Cans, romp. Like so. Just let me put this one here. Okay, a little bit too long, about two seconds almost, too long. Let's go almost to two seconds. There you go. People. There you go. Masks. Mask a little bit longer because it's a good shot. Piano, empty places, figures, strange activity, and then figures again, except this time, humans. The fairy tale is deepening. The fairy tale is deepening. So here, I have another nugget. Check it out. Take out the sound. Fix the frame size like so. This is strange. I like this shot. I'll just use this shot, the same section. I'm not putting any black fade here because I think this is in the same world. Let's check it out. Yeah. I don't want to see this one like so. I don't want to see the logo in the back too well. Here's another strange thing. That's a good shot. Use this one here like so. There we go. Use the same frame size. That's a good section. Background action. Because it is a good sharp, we don't want it to last too long so it doesn't eat the attention for the rest of the trailer. Here, we have some humans. Humans, strange humans with masks. After that, we go inside where we do not have masks. So somebody's learning something. Little bit like the piano lesson we see in the beginning. Let's maybe start with feet, feet and that screen and then a face, okay? [inaudible] Test it out. Little bit too long like so. I'm going to shorten it. Go here. Movement, movement, almost two seconds and then we have a face here. Human being, a profile of a human being, where we don't see the human being fully. Then after that, we can reveal a human without a mask. Let's go here. Here we go. We have a gradual path here, no humans. We start with a human inside as kind of a teaser, a hint of what is about to come. That empty place is where humans are normally. Strange figures, strange activity, strange activity, humans in strange activity, humans like figures, and then humans inside have faces. So we're always changing, using opposites. Now, we can use these two shots here. Because we're gradually moving towards revealing a human face. There you go like so. A human face to see how we can end this trailer. Here it is. This is the title. This shot, this is a painting here, and it's a human. As you can see here, we have the duck. We don't have giraffes here, but it's almost a reflection of the window shot we had right here. This shot here and this shot here, they rhyme. As you can see here, this is our timer. We're almost up with one minute. We go here and we go here. We're definitely going to use a little fade here like so. I'll just change this one here to Film Title. We're probably going to place this over here though and credits. So now, we have a full-fledged trailer, which is exactly one minute. Amazing. Now, I'm just going to wait a couple of days until I look at this one again. 38. My Trailer: 2nd Edit Session: In this section, we are called to run through the final edit of the trailer that I'm doing. Again, reminding you of working on your trailer simultaneously as much as you can for this session and for the most other sessions, I'm trying to keep things as alive as possible. Try not to predetermined too much what I'm going to do, I want to figure it out on the spot. I think that will benefit you the most. What I will be doing in this session is finalized and the editor of the trailer and also working on the sound. Typically, I work through all the trailer work I do as far as possible. I do my temporary sound work, color, and so on. Then the regular procedure for bigger projects is they will go into a specific sound department, color department, and so on. What we are doing here is, again, practicing this structure, and the technique, and the storytelling muscle. Enjoy the session. Now I have waited a couple of days to revisit my edit and right now, I am checking out an extra shot that can rhyme with the beginning of the trailer. In the beginning, there was a young man playing the piano and was homeschooling. I thought I would find another shot from that taken and place it at the end. Trimming it a little bit, like so. Just like that. Put the young man here. Right now, I am not entirely sure what I'm doing, which is usually a good sign at this stage. Let me add that sound. Maybe this sound is better before. I want to end on the boy playing the piano. Draw it out a little bit, like so. All right. Add this down. I'm going back to the beginning, just adjusting how we can start this trailer. I'm just going to move it a little bit. Maybe. Something like that. Now I'm just getting shots that I had later in the trailer. I'm going to reorder some things. I used to start with empty places, but right now, I want to put in the [inaudible] here. After that, maybe empty places. Take it out. Then come to get the helicopter shots, take the sound as well, like so. Clear it up. That's the helicopter. Let's see. Maybe I'm going to reverse this shot here like the helicopter is moving away. Like so. That means I can start with another shot. I want to start with a hospital, and then start with this one here. Close above the helicopter. Reverse the order. As I tried to explain, this is that after I've done all the theme work and all that, and then done the first couple of rounds of the trailer, and then I wait and the face that I'm in now, it is almost on an auto mode. I know the material inside out. I'm not entirely sure how the sound board will be for this trailer. I'm guessing that I will use the piano that I'm using from the session, and then I'm just going to work with it a little bit later, see what happens. This space is a little bit about trust. Trust yourself. See, move this at the end to honor our one minute limit. Here, I have a little bit this, I have a double piano. Like so. Now I'm going to work through some of the sound effects here that I have. With the helicopter, I'm wondering, this is one sound. This is the other one. Some radio chatter that I have here, which is going to be almost inaudible, so I'd just like it as a flare. Most likely, I won't hear it in the final version, but there's something about having inaudible effects that I like. There's a higher helicopter out, which is perfect for the almost close up of the helicopter. I can get that altogether. Just going to adjust it a little bit. This is a little bit too loud. I'll place this down. This is from the recording, when the boy is walking. Nice. I'm just going to add here a little effect a breathing effect that I found, like so. This, is, of course, a little bit too loud. But I'll adjust it later. Here I have some city effects that I'm placing around the trailer where I think it is fitting. For example, here, like so. Maybe here as well. Now I'm just putting on the sound, city sound in one layer. Then later, I'm going to adjust everything, because I still haven't figured out exactly what I've going to do with music. Putting helicopter sounds all in one little bin. I'm just going to work now with the music. I'm adding random effects to the music, so I want to keep the music natural in the beginning. Then I just got the idea of obscuring the music. So I'm putting echo and distortion. I'm going to remove the echo and just have the distortion. It gets a little bit weird, which can fit into my theme of something is off. Everything looks normal. Something is off. The music can do that, and here, I have a sound effect, like so. Too loud. The idea, for example, for this sound effect just came now. I'm trying to keep these sessions as live as possible. I think it will benefit everyone the most. Let's run through it. As I run through it, I'm going to adjust some of the extra sounds, if they're too loud or too low. Same. Helicopter, maybe a little bit higher, and then for this one. I'm just doing it as a role. I'm going to the music up and a little bit here. There we go. Now I have my one-minute trailer. 39. Class Recap: Congratulations on finishing this course. So we've gone through just a little bit of a recap. We started by doing something extremely simple and hopefully demystifying. Then it got easier. Technically, it doesn't get easier, it got a little harder, but I said it will get easier. We went through structure, theory, we analyzed or chunked down all the sections of a trailer. We studied other trailers. We went through a big toolbox, my favorite toolbox of studying genre, theme, storyboard, poster making, and putting it all together, and then I went with you into my one-minute trailer and where I used all the tools. You come through all that. It sounds like a bad thing. You've gone through something, but you've achieved something, sincerely so. The reason I am passionate about trailers is you really see into the blueprint of creativity. So congratulations again for going through all the lessons. Just a quick recap of what we did. We started with most expensive editing tool in the world, your mind. We learned about slides as nuggets of sequences. We broke everything down and learned the basics towards you filming your own material, editing your own material. We showed some demonstrations, so we went over a lot of small nifty editing techniques in between all these lessons. We, of course, had a lot of different miniature tools that all stack up into the toolbox of creating a trailer. By taking this course, it is my hope that it will benefit you in all your creative endeavors. So well done. 40. Class Wrap!: It is honestly very hard for me to express what it means that you've taken this class. When I have worked in this specific industry for such a long time, it just becomes more about giving what you know. Always, when I do that, like for example, in this course, I start to relearn what I already know in a much more deeper way. From beyond the bottom of my heart, thank you so much. Yeah, thanks. I would really appreciate if you would find the time to review this class when you've finished it. If you have questions, remember, post them here in the discussion board, or even just contact me directly via the email in the link in my bio. Share your progress as you go along. Share posters, share nuggets, share sequences, everything that comes to your mind. In case you would like to access further resources, you can visit my website where I have all kinds of tools regarding the creative process. What inspired you to become a director? When I was 20, I broke up with a girl. You discover all sorts of things about yourself then you start to ask yourself serious questions, and I found this answer [inaudible] express my myself through film.