Tip #92: The truth about film festivals -get a sales agent

By Dan Parkes (Director/editor)

Of course, once your film is done and dusted the next thing you most urgently want to do is to get it out there, and maybe even pick up some awards in the process! This is when filmmakers begin searching for festivals to enter, from Cannes to the small local festivals. But it is at this point that our novice production team learned a very important lesson that we hope to pass on to filmmakers who like ourselves, innocently believe that festivals are where films are found by distributors, or where awards can be given which in turns brings attention and the possibility of distribution. Neither is really true. Although we had a reasonably successful festival round, with six official selections, six award nominations and three awards (two for best film and one for best actor) the fact is that it could have been a lot, lot better.

1. The Festival Plan
A big mistake is to just simply start entering as many festivals as possible hoping to be picked up by a big one. The problem is that we often hear stories of films screened at Sundance or elsewhere that go on to be bought my major studios. But it is just not that simple. The fact is that firstly, most of the major festivals are looking for national or international premieres -not films that have been screened elsewhere already . This can get complicated, meaning that you end up putting all your hopes on getting accepted into just one festival (so as to abide by their 'premiere' regulations), and most likely the chances of being accepted into this are very small.

The truth is that filmmakers themselves should not be entering festivals on their own... they should firstly be looking at getting a sales agent.

Ambleton Delight production team
accepting an award for Best Film.

2. The Sales Agent
To reiterate, this is the person filmmakers should be thinking about long before festivals. Nobody ever told us that until we had already started our festival round, and in my mind was the single biggest mistake we made as producers. But it was down to complete ignorance. Nobody had told us -and we had all been to various film schools- that this was a necessity, or even how it works. But we started to find it strange how our film would disappear once submitted into festivals, and how it seemed like most of the festivals had their programmes worked out already and our entering it was essentially a waste of time. Maybe that's because it was. The fact is that if you get a sales agent first then they will know the best way to market your film and thus help you with a festival plan. Of course, once you have found a sales agent willing to pick up your film you must check the fine print of any contracts or agreements made.

3. The DIY method and awards
A sales agent is not essential. There are filmmakers who would prefer the DIY option in the hope of finding a distributor however unlikely that might be, or it could come down to the fact that they have no choice. If you are careful in your selection of festivals and set a festival budget then you can have the satisfaction of knowing that your film will be seen and that it also might pick up some awards, as did our film. But if you enter film festivals without a proper sales agent then be aware that it will look 'amateur' and you are likely to only be picked up by those locally run festivals run by enthusiasts.

Ambleton Delight production team

with the Best Actor award for the film.

4. The Expense
An important consideration (and another reason for getting a sale agent to help) is that entering film festivals can get very expensive, with not only sometimes exorbitant entry fees, but also the costs of providing the materials required. Some festivals will insist on 35mm prints or HDCAM tapes, the transfer of which can rule out any ideas of entering. But you may also find that there is some local funding for putting your film into festivals -we were assisted by Screen South in our festival round.

5. The Politics and the Scams
And then there is the simple fact that many festivals -except for maybe the small amateur events run by volunteers - are more often than not rigged, driven by mostly hidden agendas, have commercial motives and objectives and in worst cases are just pure money-making scams.
For example, if you have a named actor in your film you are more likely to be picked up because then they might attend which will raise the profile of the festival.

The key issue here is that as filmmakers we should be more aware of this. Our whole industry is about creating illusions, but somehow we sometimes seem to forget that festivals are also part of the facade. On the other hand, the 'small amateur events run by enthusiastic volunteers' can be terribly unorganised and result in your film being shown at the wrong aspect ratio to a room full of empty seats!

Ambleton Delight production team
with other award winning filmmakers.

If this sounds harsh or embittered be assured that this isn't the case and we are happy with our festival round and awards. However we did meet dozens of disillusioned and upset filmmakers at many of the festivals we attended. And we know it could have been better if we hadn't entered in ignorance.

The next blog will look at the next and most asked about step... distribution.

Tip #91: Organise a premiere

By Dan Parkes (Director/editor)

It can be both a very happy and very stressful time for a filmmaker - that moment when the curtain is finally lifted on the film you have been slaving over for months and it is finally seen by an audience for the first time.

The date for the Ambleton Delight premiere was timed to launch a film festival, and hence was a date that was not going to move. It was advertised, free tickets for cast and crew arranged, champagne ordered and tickets put on sale for the public. While the film itself had been cut and effects completed, the sound mix (which was being done separately) began having delays and resulted in final touches being made literally the day before the premiere. But considering it was actually nine months from first draft to premiere, this should not be completely surprising!

Producer Itsuka Yamasaki, actor Sadao Ueda
and director Dan Parkes at the after-party.

The premiere itself was very successful, with 200 in attendance including both cast and crew, special guests and those who bought tickets. Most importantly it was a time to say thank you to all those who helped make it happen. Here are some tips we found on organising a premiere:

1. Don't leave it to the last minute. Although your concentration will likely be on completing the film you need to start thinking about the premiere from a very early stage.
2. Location. Obviously a real cinema is the best place, but it might be expensive if you are hiring it. If you can organise it to be shown in a festival then that could solve the problem. Otherwise there are many other non-cinema options you can consider. In the past we have premiered films in a library, a hotel and in a school.
3. Cast and crew. This is where it can get tricky. Make sure you have an accurate guest list that includes all cast and crew and also those who may have helped in some other way. It might be a good idea to start making this list early in the production so you don't accidentally forget someone in the last minute rush. Also, don't forget to allow each person to bring a guest.
4. The guest list. Don't just invite those who were involved in the making of the film. Also invite those from the industry and community along to make it an extra special event and to allow for networking opportunities.
5. Seating. If in a cinema you might want to allocate a special area (such as the back rows) for cast and crew. If not in a cinema you might want to make sure the seats will be comfortable enough for the duration of the film.
6. Food and drink. It is good if a glass of champagne or wine can be provided to celebrate the event. If you are unable to afford this or get it sponsored then at the very least give people a bag of popcorn!
7. Test the facilities. Don't ever premiere an event without having first tested the film on the projector and screen to make sure it will look and sound good enough.
8. Advertise. Send out invitations well in advance and if advertising tickets start looking at ways of getting your premiere known: noticeboards, flyers, posters, e-mails, newsletters etc.
9. Dress code. From experience most people like to dress up -but make sure everyone knows what is expected. If there is a very formal dress code then this may put some off -especially if they arrive without realising it is the case!
   
10. After party. many will want to network or party after the event -if this is not possible at the screening location you might want to think of what facilities are nearby that could be used for this.
11. Official photographer. It is still part of the production process -so make sure to have an official photographer to record the event.
    
12. Festivals. You might also want to think about how the premiere may impact on your festival and sales opportunities. If you have a sales agent or even distributor it is best to discuss this first with them. Also if a film is screened in one country that may make it ineligible for some festivals.
    

Main actors Jos Lawton and Kristina Anne Howell
at the after-party.

Tip #90: Have a test audience screening

By Dan Parkes (Director/editor)

As filmmakers sometimes we get too close to the film to be able to be objective about whether things are really working or not. In the previous blog we looked at how some films can have various cuts as director's attempt to rectify issues. We also listed some critical factors to look for when deciding on that final cut. But an even better method is to test your film on an actual 'virgin' audience before deciding on a finished cut.

The wrong audience
Of course it is very easy to just show it to those who were involved in the making -the cast and crew- as they are no doubt eager to have some input. While this can be a good idea, they will all suffer from that lack of objectivity that will prejudice any feedback.

They already know the story. They may have seen a lot of it being filmed and know the difficulties and issues already. Many actors do not like seeing themselves on screen, and crew such as sound recordists and cinematographers may well be very critical of their work or the way it has been represented as their reputation is at stake. Their input is all worth considering but may not be entirely helpful. Conversely, family and friends may be aware of the sacrifices you have made and so will not be as critical as you would like them to be.

The right audience
What you really need is a cross section of people who are seeing the film for the very first time -without knowledge of how it begins or ends and without any emotional connections or involved in its making. You want them to be as honest about the experience as possible. But make sure this cross section is your target audience, the correct age group especially, those who would watch this kind of film by choice, otherwise you are only asking for a negative reaction.

Word of caution
Everyone has a point-of-view and everyone is their own film critic ready and able to tell you how much better it could have been. But they may have no knowledge of the limitations or even how films are made. Unless you find a very serious issue, do you have the time and money to reshoot a scene, or write in another scene, or rerecord the music? Tailor the feedback to be more specific, to things which can be practically done to improve the film.

There is also a political and psychological factor to think about: if someone is asked to state an opinion or comment on someone's work there is sometimes a need to justify their involvement or credibility by making a point -even it if is not required or worthy. Especially is this the case when those being asked to comment are employees of a company or part of a committee -they will consciously or unconsciously want to justify their position by finding something wrong. Simply stating that it seems fine would not seem enough.

That is why some test audience's have "focus groups" which will hopefully pinpoint more specific and practical areas of improvement from a collective point of view. But beware of the proverbial "focus group endings" which have spoilt many a film due to an apparent yearning for a Hollywood conclusion!


A case in point: A focus group that watched Wolfgang Petersen's Troy (2004) apparently did not like the dramatic score by Greek composer Gabriel Yared (above). Despite the director and composer having worked hard together on it, the studio, based on the focus group's reaction, rejected the score and James Horner was brought in with only two weeks to create a replacement score. When the film was released the general consensus among many was that the film would have been much better with Gabriel Yared's version, and that it suffered overall as a consequence (although not the only reason it did so).

In the case of Ambleton Delight we arranged several test screenings. However the most important screening we organised encountered an unresolvable technical issue with the sound which meant it had to be cancelled at the last minute, a missed opportunity and embarrassing situation which I will forever regret, and which left us very little time to make adjustments prior to the premiere. In the end the premiere and festival screenings brought enough feedback which we used to create the final version of the film.

Test audiences are not always right...but they are an important part of post-production and you should employ suggestions when and if practical. But remember to not loose your artistic integrity.

Tip #89: When a final cut... is not so final

By Dan Parkes (Director/editor)

The word 'cut' is used during editing and distribution to refer to different versions of the film. Sometimes a film can have many different 'cuts' - Blade Runner famously has seven different versions of the film, including an "International Cut", the "Director's Cut" and the "Final Cut". The key difference being the removal of Harrison Ford's voice over.

But what are the differences in definition between each 'cut'? And how can we apply this to low budget filmmaking?

Here are eleven possible versions and their definitions:

1. Workprint cuts: These are the first cut, second cut, third cut and so on that the director and editor work on. A later "workprint" cut might be shown to a test audience, but otherwise these are never normally seen publicly.
2. Final cut: The finished version of the film as decided by the producers. (although now more synonymous with a certain Apple editing tool!)
3. Theatrical cut. This is the version of the film shown in cinemas
4. International cut. From the perspective of the US, a "domestic" cut means within the United States, but if for some reason a different version is required for overseas this may be referred to as an "international" cut.
5. Distribution cut DVD/Blu-ray. Once it has finished its theatrical run then when it is released to the domestic market changes might be made -previously there were "pan-and-scan" and "widescreen versions" to accommodate the fact that not everyone had widescreen TVs.
6. Censored/uncensored cut. Depending on individual territories and also classification guidelines and rulings, different versions
7. TV cut. Special versions for broadcast will also be different -maybe with offensive language or scenes edited and the pacing and end credits shorted so that it fits within a certain time slot.
8. Airline cut. There are separate versions that are altered just for airline audiences, with length and suitable content considerations. It also often involves being altered to fit the screen sizes on most airplanes.
   
9. Directors Cut. If there were creative differences with the studios sometimes the director will release their original version, for better or worse!
10. Extended cut. Maybe similar to the above, but since not all director's cuts are longer (Peter Weir's cut of his own "Picnic at Hanging Rock" is shorter)
11. Digitally Remastered. If only on celluloid and in need or repair a new digital version, with restoration, may also be released.

Of course the invention of DVDs and Blu-ray has now made it a lot easier to be able to add the different versions and endings, even providing opportunities for studios to rerelease films as part of a long-term marketing strategy (e.g. the 10th anniversary extended version). A good (or bad!) example of constant tinkering with various cuts and new editions is George Lucas' Star Wars saga.

However you are probably thinking that it is highly unlikely that a low budget feature will ever get to have so many cuts made to it. And you are probably right -unless your film becomes phenomenally successful then it will hardly merit the attention of being recut and rebranded. But the methodology here is important, as you can use the same form of analysis to ensure that the final cut is the best cut.

Here are some things to think about, especially during the work print cuts:

1. Logic -Does it make sense? Does it require something more, or maybe something less, to tell the story?
2. Pace -Are there times when it feels too long and the audience may begin to loose interest, or other scenes or cuts that are too fast. Is each and every scene necessary? Could a scene or two be dropped without affecting the story but maintaining the pace?
3. Continuity -is there something distracting from the story
4. Style -Is the editing, the colour grading, the look and feel of the film correct, or does it require further polishing?
5. Music/Audio mix. Does the music work, hinting at the emotional core, not being too overbearing. Are extra the sound effects required to add an extra layer of realism.
6. Effects shots. Are the effects shots working or are they drawing undue attention to themselves? Is there anything else to be tidied up or removed?
   
7. Mistakes -titles/credits. Are there any spelling mistakes, or omissions?

And what about Ambleton Delight? Well it went through half a dozen working cuts before having three major versions released: a premiere cut (the longest version), a festival cut (tightened version, with one scene removed) and a distribution cut (with one shot removed and a new ending, the shortest of the three cuts). The Blu-ray version is the same as the DVD (distribution cut) except that it contains the cut scenes and the full making of.

Tip #88: Get permission to include logos and artwork

By Dan Parkes (Director/editor)

It is the easiest mistake in the book, and we fell into it big time - allowing a copyrighted logo, brand or artwork to appear without permission. In our case it was a scene involving a father-and-son bonding moment, during the filming of which all our energies were focused on trying to ensure the young child would appear natural in front of camera, to the extent of overlooking the obvious: that the young boy was wearing pyjamas with a huge picture of TinTin on them! In the end the child was more than natural on camera, providing us with lots more footage than was originally scripted. The producers, notably Sinead Ferguson, on seeing how obvious the TinTin image was, questioned what the situation would be regarding clearance. With the upcoming film by Steven Spielberg on its way, we thought this might be an impossible task...

Actors Jos Lawton and Henry Page
in the 'TinTin' scene.

And it was not the first brand or logo that we had to attempt to get clearance for. Although some great efforts were made to avoid certain logos and branding in shot -either by turning the labels round or removing them completely from shot, or blurring them out by using depth-of-field in the lens- there were several companies we had to approach to get clearance, and who are consequently mentioned in the end credits.

But in some cases we knew it would be impossible. For example, there is a flashback party scene with implied drug usage, which has beer cans scattered around the room. We knew that it would be very unlikely to get permission to use a brand name in such a scene. So in the end we digitally removed the offending logos. It was not an easy task. In fact it is probably the most complex effect shot in the film. But hopefully not one that anyone notices!


The lesson here is:

• Don't include famous logos, labels, branding or artwork on props or set design without getting permission first
• If you need to include a logo and don't think you can afford or even get permission, then create an alternative version that will not be subjected to copyright
• If uncleared labels appear in shot during filming and cannot be removed or changed, turn them around, reframe the shot, or use depth-of-field to obscure them.
  
• Avoid having to digitally remove or alter labels and logos in post -it is a gruelling and sometimes unsuccessful task!

And of course another option is to not only get permission first, but use it as a funding opportunity....more about that here.

And what about TinTin? Well fortunately it has a happy ending. Producer Sinead Ferguson was able to heroically get contractual permission to include the logo direct from Herve Moulinsart who are the owners of the TinTin artwork. And so it remains one of our favourite moments in the film, for more than one reason!

Tip #87: 12 Essential FREE video production software!

By Dan Parkes (Director/editor)

Film making can be an costly exercise, but that doesn't mean everything has to be expensive. Seeing that this is our 100th post to celebrate we are listing 12 of what we think are worth having as part of your arsenal.

Click the image to go to the official website:

1. Celtx -free production software. They have recently introduced paid subscription for using its collaborative features, but if you use it in conjunction with something like DropBox you can still use it to collaborate (although it may not be as easy).


2. Dropbox An excellent collaborative tool -meaning you can instantly share files via a common folder. The free version allows up to 2GB.


3. Muvizu If you need to some 3D previsualisation for effects shots or complicated sequences, Muvizu is free software that enables users to make 3D animations.


4. Lightworks A video editing software package that was used on the film The Kings Speech and is now open source, meaning you can download a free version of it. Looks like it has some great features. It does require 'Matrox VFW' codecs and a recent version of Apple Quicktime and is compatible with Windows XP, Windows Vista, Windows 7 32 bit and Windows 7 64 bit.

5. VLC A free open source media player which seems to play just about anything and everything! Can also be used to convert between formats and works on most platforms, Windows and Mac.

6. StarBurn (Rocket Division Software) Free CD burning, DVD burning, Blu-Ray Burning software.

7. ImgBurn A lightweight CD/DVD/HDDVD/Blu-ray burning application that enables you to burn disc images with ease. We recommend using Imgburn has a better workflow for burning multiple discs as it is faster and has verification features.

8. VisualSubSync A subtitle program that facilitates subtitle synchronization by showing you the audio form. For more information on how we used it check HERE.


9. Subtitle Workshop Free subtitle software which is good for converting subtitle formats and also translation. For more information on how we used it check HERE.

10. VirtualDub VirtualDub is a video capture/processing utility for 32-bit and 64-bit Windows platforms (98/ME/NT4/2000/XP/Vista/7). We use it to help create burned in subtitles. For more information on how we used it check HERE.

11. NVU Webpage design software that we use to create the official website. For more information on how we did that check HERE.

12. FreeFilesync An Open-Source folder comparison and synchronization tool. It is optimized for highest performance and usability without restricted or overloaded UI interfaces. A great and free method of backing up files over multiple discs or computers, especially if you cannot afford expensive backup systems such as Raid.

Note: The software was free at the time of writing. Any updates to links or additional information please comment below.

Tip #86: Social networking -does it work?

By Dan Parkes (Director/editor)

Social networking, a new inexpensive means of promoting your film, has seemingly become an important part of any marketing strategy.

Kevin Smith famously used MySpace in 2006 to promote his Clerks II by putting the names of the film’s first 10,000 MySpace friends in the credits. Since Smith had 50,000 friends at the time this wasn't going to be a problem. They had the names in two hours. Clerks II apparently made a profit and now Kevin Smith has nearly two million Twitter followers.

But does it work? It is a well known fact that a film can sink or swim based purely on rumour and gossip alone. So on-line marketing via social networks is certainly one way of making a presence -and most importantly for budget filmmakers -one that can theoretically be done for free. And it must also be noted that a film is more likely to garner the attention of buyers and distributors if it has a strong on-line following.

In addition to an official website (for more information on that check our previous blog), here are the four main avenues to think about trying:

1. Facebook Page
It's a necessary evil. And very easy to set up, the important thing is to keep it regularly updated and to look not too much like it is advertising the film all the time. Post other interesting things as well.

2. Twitter
Another necessary evil! But again very easy to set up. You could have regular tweets with real time information on the production progress, promote special contests, sneak previews and have links to your other sources of on-line presence such as Facebook. But there is a danger...negative, abusive or downright stupid "tweets" could embarrass and endanger your cast and crew not to mention the film itself.

3. Blogger
Not so necessary, but an opportunity to go into more detail than Facebook or Twitter will allow. This can also be more practical -such as this blog -with anecdotes and behind-the-scenes information or a production diary. Updates to the blog can then be posted on Facebook and Twitter.

4. YouTube
Again, not completely necessary, but once you start releasing any video material this is a good place to host it for free. You could put up a production diary, making of and trailers, which you then embed into your blog and official website.

5. Newsletters/E-mails
Collecting e-mail addresses of those interested in the film and keeping them updated is also a good idea. We use the brilliant (and free) on-line e-mail marketing tool MailChimp which helps you create and maintain subscription lists, design newsletters and e-mails, send the e-mails and provides comprehensive reports on how many of your newsletters are being opened and what links are clicked.

At the end of the day though, an excellent marketing campaign for a bad film.... still makes it a bad film. So make sure you make a good film first.

If you have any good social networking and marketing ideas please post them below.

Tip #85: Build an official website

By Dan Parkes (Director/editor)

Setting up your own official film website, such as we did (www.ambletondelight.co.uk) does not need to be a difficult and expensive option these days. Not only does it mean you have your own place on the web that you can advertise on your film trailers and posters, but it also gives you much better sounding e-mail addresses!

It is essentially a simple 5 step system:

1. Register a domain name
Obviously this will be the name of your film or a variation of it, followed by .com or .co.uk etc. Keep it short and simple -if your film title is already taken you can try just adding the word "movie" or "film". Most domain names can be bought for a year or more, and many companies can offer both the domain name and the hosting as a combined package. Note: Register the domain name as early as possible to avoid being scammed and be careful of any subsequent offers to continue or buy the domain name -they may also be a scam.

2. Choose a hosting package
Now that you have a domain name (i.e. a website address) you now have to organise the hosting -which is the allocation of space on a web server to put your website, and also how much bandwidth is allowed (every time someone visits the site it means data is downloaded from the server - there may be a limit imposed on how much a month is allowed to be downloaded).

3. Design a site
You can actually download free website templates, or buy more professional versions that only need the text and images changed. This is a much faster and professional way of getting a website on-line. We use the free html design software Nvu (http://www.nvu.com/) but there are many out there worth checking. Make sure it is WYSIWYG (What You See Is What You Get) as that is much easier for beginner web designers!

You can also add some great little tools such as Wibiya which includes links to your twitter, facebook feeds and can also create a custom contact page, and a button that translates the entire page into several different languages!

4. Upload
If you are constantly uploading and updating your website you might want to also look at Ftp software which will make this a lot easier. You can use your own computer's operating system to do this or use separate software which can be easier. We use Wise-ftp, but there are many other free alternative ftp programs out there worth trying.

Above: the homepage to our official website
is designed to reflect village life.

5. Check
It is a good idea once you have your website set up to test it on different browsers and different computers including smart phones to see how it looks and if there are any critical compatibility issues. Also check that your new e-mail addresses are up and running and if you have put a redirection to another address in place that it is working correctly.

Tip #84: Opening and closing credits

By Dan Parkes (Director/editor)

Up until the 1970s most films would begin with the full cast and crew credits list. Now, the full list almost always run as a long scroll at the end of the film. These opening or closing credits should not be underestimated -not only are they an informative and in many cases a contractual requirement, but they can also be an opportunity for creativity.

1. Opening credits/title sequences
Some films such as James Bond and the Pink Panther series have utilised the opening credits as an opportunity for artistic "title sequences", something which has become almost a staple of television openers. But most films have now reduced the number of opening credits down to the bare minimum, often superimposing the text upon the film's opening scenes. The 1993 film The Fugitive has credits appearing fifteen minutes into the film! This is not a necessity however. Some other films such as The Godfather, and the recent Batman Begins (2005) and The Dark Knight (2008) have no opening credits at all, except for the film's title. Apparently, Clint Eastwood has not used any opening credits other than the film's title for every film he has directed since 1982.

For some ideas on how to come up with some interesting and artistic opening title sequences, check these wonderful websites out:

www.artofthetitle.com
http://annyas.com

Above: The opening credits to Forrest Gump,
an example of credits overlaying the action.

Above: The opening credits to Catch Me If You Can,
an example of a creative title sequence.

2. End credit crawl/roll
The longest end credits at the time of writing is in the film Aliens Vs Predator (2004) which run at 12 minutes long, followed by Lord of the Rings: Return of the King at 9.5 minutes. This is of course the time to credit everyone who appears, or was involved in the making of the film. It does not necessarily mean everyone seen in a film must be credited - normally only speaking roles are given credit, but this can depend on the individual contract.


This is also an opportunity for some fun, whether it be to have a great selection of music, a suite from the orchestral score, or to screen bloopers, or post-credit scenes. For example, Super8 (2011), has a film within the film playing during the credits. For more examples check the "Crazy Credits" section on most IMDB film listings or http://aftercredits.com/.

3. Standards -formats etc
In the US, credits are often dictated by the relevant guilds. For example, The Writers Guild of America allows only three writing credits on a feature film, while The Directors Guild of America permits a film to list only one director, leading to some occasional issues, such as when George Lucas resigned from the Directors Guild of America after being fined $250,000 for not crediting the director during the opening title sequence of his film Star Wars!

The BBC also has some credit guidelines for television broadcast, which you can check here.

4. Some tips

• It is good to start collating credit information from beginning -as the number of thank yous you might accidentally forget is surprising.
• An official credit list can be used in the press kit and IMDB listing
• Check for errors -make sure you get the spelling of people's names correct, and check contracts as some actors insist on their name being represented in a certain way.
• Make sure the font is large enough to read and is not too fast, and is also in keeping with the genre and production design.

You can view the credit list for Ambleton Delight in our press kit, found here.

Tip #83: Make a teaser/trailer

By Dan Parkes (Director/editor)

Film trailers have become an artform in themselves, with slick editing, dramatic music and flashy 3D graphics, along with a barrage of impressive imagery and a complete retelling of all major plot points. But the power of a good film trailer should not be underestimated, as a successful trailer will make you really want to watch the film and form a very important part of a marketing strategy.

Of course you don't want to fall into the trap of creating a trailer full of cliches, although there are times when this can be very entertaining -check out the fantastic analysis of trailer techniques in the brilliant trailer for The Hitchhiker's Guide to the Galaxy, with voice over by England's national treasure, Stephen Fry:



When making your own trailer there are some important factors that are good to remember:

1. A "teaser" is normally shorter than a trailer - and only teases you with limited information/imagery from the film. These are often released earlier in production, before the final edit is complete.
2. Standard trailers are almost always about 2 and half minutes in length.
3. Send the right message -don't deceive you audiences unintentionally -if it is an action film show lots of action, if it's a romance, romance!
4. Use of appropriate music is important -there are some great orchestral trailer tracks you can acquire, or use band music to set a different feel. Of course clear whatever music you use.
   
5. Make sure the editing is as slick and professional as possible, with good grading and sound quality -people will judge the quality of the entire film based on what they see in your trailer.
6. Unless you intend on releasing a "red band" trailer keep everything PG.
7. Voice over can add an extra dimension, but don't fall into the trap of thinking you need a deep, booming trailer voice... although you can get these done for you if you think it will work (check this guy out: http://www.voiceoverguy.co.uk/)
8. Add taglines, graphics, festival information or reviews if possible or appropriate.
9. It is good to finish with some end credits (cast/crew), as seen on the film poster.
10. The final image you show in the trailer might be the one people remember the most -make sure it is a good one, and makes you want to see what happens next.
11. Watch lots of other trailers to get familiar with what works best. Here's a good place: http://www.davestrailerpage.co.uk
12. Release HD (1080p and 720p) versions of your trailers.

For more information and an interesting analysis of making trailers check this article here.

For Ambleton Delight we created a teaser and two trailers. Check them out below (they are all available in HD, just push play, change 360p to 720p and click the full screen button):

Teaser/trailer 1 (before the main production edit had begun):


Trailer 2 (made for the festival circuit):


Trailer 3 (final, official trailer):