Rain Check
Logline: A private investigator hired to find a missing accountant realises the woman who hired him is the one the accountant was running from.
Noir · 1 minute target
A trailer here is cut from real scenes, the ones you shot for your flick. Pick the three strongest, keep the heart of each, and the studio brackets them with a tagline and a coming-soon card.
Rain Check, a trailer in the Noir genre. Logline: A private investigator hired to find a missing accountant realises the woman who hired him is the one the accountant was running from.
Open a flick that has at least one finished scene and choose the trailer tab. Every finished scene is listed with its thumbnail; tick up to three. For each pick you set how many seconds to keep, between five and eight, and the studio takes that window from the middle of the scene, where the action usually lives. The cut opens on a two-second tagline card, runs your picks in the order you ticked them, and closes on a three-second coming-soon card with the film title.
The whole thing is capped at thirty seconds. Three picks at eight seconds each with both cards comes to twenty-nine, so the cap is rarely a constraint, but it means a trailer never sprawls. It costs two credits, and if you change your picks you can cut it again; the previous trailer is replaced.
A good trailer poses the question of the film without answering it. For a heist that is the crew, the vault and the moment the plan wobbles, not the reversal. For a tearjerker it is the visit and the photograph, not the line that resolves them. Vary the shot sizes: a wide, a close-up and a two-shot cut together better than three close-ups.
The tagline card is worth a minute of thought. The drafter proposes a tagline when it writes the beat sheet, and you can rewrite it on the flick card at any time. Under ten words, present tense, and it should sound like something a poster would say rather than a summary.
You can cut a trailer before the main cut exists. Shoot the three beats you think are strongest, trailer them, and use the result to decide whether the rest of the sheet is worth shooting. Some people make the trailer first on purpose: thirty seconds of the best moments is a cheap way to see whether a cast and a genre work together.
A trailer is a video of its own with its own page, so it can be shared on its own. When the flick is published, the trailer sits next to the cut on the public film page, and the trailers page on this site lists public trailers newest first. Trailers inherit the flick’s visibility, so an unpublished flick keeps its trailer private too.
Logline: A private investigator hired to find a missing accountant realises the woman who hired him is the one the accountant was running from.
Logline: A drifter rides into a town where the saloon owner has bought every debt on the street, and offers to settle all of them with a single hand of cards.
Logline: A courier in a rainy northern city notices the chalk mark on the cafe window is the wrong colour and has one tram ride to decide whether to warn her handler or run.
The studio opens with this logline, genre and runtime filled in. Change anything.