To learn a recognized

To learn a recognized

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Movie analysis tips

Retrieved from:

To use it or not in the promo that each author decides for himself, depending on the specific film and its marketing objectives.

But, in any case, it is important this message is detected.

How to do a big separate theme.

Now I would like to highlight that the understanding of what authors put into the film, allows the editor to see the whole picture, and the author of the trailer gives a lot of room to maneuver and protects it from silly mistakes.

For the authors of parody or alternative clips of the real (or imaginary) the second layer is generally a gold mine for creativity and the basic material for the work.

As this layer is typically thin and well-camouflaged, it requires special care.

Therefore, if the author is commercial trailer does not feel confidence in their abilities (or this layer is ill-defined in the film), then it is better to limit the main plot idea of the film.

The trouble is that if I want everything at once, it usually turns out a mess.

After all, before you build the second floor, you FIRST need to make a strong Foundation.

I mean, ANY film is necessary first of all a good plot basis, and only then is to do the second layer.

Inexperienced writers often forget and then their aid must come editor.

Many of my experimental videos, which have received many prizes (including PROMAX), was made based on the second scene layer.

This technique is generally very fond of different contests, although to a mass audience, he often works poorly.


It frames that go together with the key points and bright scenes � hero reaction, transitions, views, etc.

Examples � the phrase “can’t be!” “what a mess!”, lanes car, closing doors, etc.

Beginners ALWAYS forget about them.

Of course! At first glance, such moments are just scenes to fill.

However, look closely, why does the Director of the film?

It is from these bundles depends on the smoothness and consistency of everything that is happening on the screen.

The author of the trailer or editor must understand the principle of their work.

What connects one scene to another? What is the cause and what is effect?

I once got to edit a scenario in which the author used a lot of flashbacks.

The problem was that they were engaged suddenly, and from the text it is unclear why the action is past, present, and future. This is a very risky admission for a writer-beginner. Leave the matter to the Director, who probably also will work with this technique for the first time – a surefire way to ruin the movie. The viewer is just confused in places actions.

Ligaments help in time to correct the mistakes in the script and when creating the trailer they make a PROMOTIONAL VIDEO (trailer) from a simple range of beautiful plans and loud phrases.

It sounds amazing, but a significant part of the audience claim in the style of “understand what is happening” causes the cords. Simply put, the movie is just poorly mounted.

My colleague, one of the best TV Directors of the install, I started working on a video just with the selection of these ligaments. Cut them together and put music, he has already obtained a solid Foundation for the trailer in the video style.


Film analysis or scenario � an important preliminary step.

There is always a temptation to “hurry to get to work” – to make a film or mount the trailer. But do not forget that the majority of errors in production can easily be remedied.

Further attempts to change something will cost more expensive, or will be even impossible.