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Teaser Trailer EvaluationTeaser Trailer Evaluation
ByBy KarimKarim AssassiAssassi Aaron McCannAaron McCann
and Muhammad Khalidand Muhammad Khalid
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Focus pull distorts the view creating adream-like/dazed effect. This in turn
hints the surreal nature of the film and
reflects the feelings of the main
character. The colour immediately
helps to establish a cold and un easy
feel , we chose to use this at the start
to help convey the generic feel of a
thriller. A dark look created with theuse imovie 09, we reduced the
saturation of the shots to snatch the
life from the shots.
We found that this shot has not usually
been used in teasers however we
found it necessary to try something
new, and audience feedback gainedsuggests that it worked well.
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Following the focus pull
technique we move onto a
time lapse. Seeing the cars
move at a sped up pace
denotes the fast paced nature
of the film. In addition to this
the shot has been made dark
to give off the dark ominous
undertones of the film and the
unreal danger that the
journalist is in. With the shift in
sound the shots make up
changes to almost total
darkness and a dark green tint
is given off to portray the
deeper danger and surrealistic
feel of the film. The first two
shots of the teaser hook the
viewer very effectively and
give the impression that
nothing is as it first seems,which fits to the storyline of
the film.
We chose the colour green
specifically instead of red as
we wanted to symbolically
show some of the emotions
that lie beneath this story;
envy, jealousy, evil.
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Quick fades we found worked best to tease the viewer, hinting at theme and plot lines, to
keep them on the trail of what's going on without giving away the whole storyline. Our
product research suggests they are the most commonly used transition found in the more
contemporary teaser trailers.
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This is a shot which has
become highly approved of by
our audience, the crucifix lane
shot we found it to be an
effective and symbolic use of
mise en scene. Denoting a
religious aspect of the film,
perhaps a suggestion of self
sacrifice.
The slow motion shot of the
antagonists footsteps are
used to create a sense ofauthority within our
character. The slow motion
allows the audience to
observe a foot with no
colour or design, very
reflective of his simple, cold
and dark nature.
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Of course we had to identify the victim/protagonist, and portray him in a manner which forces the audience
to sympathise for, or at the very least relate to. And thus the idea of the father-son bond was brought into
our production. In this shot in particular we have tried to portray this bond symbolically and literally . As well
as the visual smile on the protagonists face, the audience is shown trees behind him, metaphorically
representing life, well being and strengthbut the withering away of the tree helps to suggest something
darker, something in the midst, to perhaps creep up on the father-son bond.
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In this shot we see two dark figures meet and exchange an object un visible to the audience,
this was done intending to cause a curiosity in the viewer. This swap takes place in front of a
very suave white car, this reflects the nature of the antagonists, showing that they are at least
wealthy individuals.
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The repetition of the word ONE was
intended to leave a mark in the viewers
memory. Like a teaser should, these title
slides give a vague outline to the contents of
the film.
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This over the shoulder panning shot worked extremely well as it
gave a viewer insight into the world as seen by the antagonist.
The beginning of the pan shows his head close up making him
look huge in comparison to the size of the London skyline he is
overlooking. The pan also works symbolically as a bird soars
across the cityscape suggesting the antagonists link to a
freedom related theme. Audiences enjoyed these denotations,
however it was only noticed by the more active viewer.
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This shot shows Aaron who is
acting as a publisher in the film.
These two shots portray to the
audience that he is caring and isvery family orientated.
The shots of him holding the child
at a height and balancing him on
the walking plank could suggest to
the audience that something
catastrophic could happen to the
child. This is further depicted to theaudience as the next title slide
after this shot is One Problem.
This creates a sense of insecurity
in the audience.
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Audience feedback suggests that
this is another successful shot.
They enjoyed the speeding up of
the cars and how the traffic fell in
sync with the music we used .
We sped up the pace of the shot
to create a rush like feel; to
replace the previous calm state
with something more significant
and attractive to the viewer. This
is an example of a new
technique that we learned duringthe A2 course (time lapse).
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This shot shows the antagonist
walking towards the camera in
slow motion. We made sure he
stayed in the middle of the shot
so he is the main focus. As there
were many people. The
audiences concentrationbetween what's in the shot can
be easily swayed, we made sure
that the soundtrack was in
synchronisation with his walk.
The drop of the soundtrack
begins when the antagonist is
shown. This emphasises his
power, authority, and importancewithin the storyline.
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The reflection of the shard is distorted in this shot. This use of mise en scene was intended to show that
not every thing is as it seems. It gives off the idea of another world, one that is unreal and distorted. This
very much reflects the nature of the protagonist/victim; confused and un clarified.
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Introducing the director in this manner makes it as if the audiences should know this director. As if
he has previously achieved. This makes the teaser attractive to the audience. Audience members
suggested improvements such as from the Oscar nominee Etc. The font colour changes during
the teaser, but specifically here to add significance to the fact that this is An Aaron McCann Film.
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This shot shows the antagonist
walking away from the shard at a fast
pace. We know it is him but dont get a
chance to see him in great detail. This
is reflective of the fast pace at whichthe storyline moves, and the events of
the film take place.
As the antagonist passes the camera,
the focus is drawn onto the shard
reminding the viewer that there is a
higher power at work behind the
scenes as the focus is drawn away
from the antagonist!
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This Marco shot of the clenching fist took a while to achieve but was well worth the
effort. As it was it was too dark to get the shot on its own. It was only achieved by
shining a little light on the glove in order to bring out the detailing you see in the trailershot. This shot was intended to highlight the aspects of conflict and danger of the film.
This shot in particular was highly influenced by the matrix revolutions teaser trailer, this
was a very short but powerful shot that we thought to develop. The leather glove helps
convey the themes of the thriller genre; concealing of identity & hit-man stereotypes.
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This shot is symbolic in representing our protagonists position in society and indeed the
film. However this gives an element of mystery to the audience, just why has he been put
in this position? Of what importance is this family orientated character?.
The darkness and low angle of the shot helps to create the rush feeling we aimed for in this
trailer as well as this the protagonist edges back towards the camera creating a sense of
danger and urgency. However, audience feedback has suggested that it may have worked
better if we could see slightlymore.
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Here the music starts to fall away asthe title of the film appears. The film title
RED PEN is intended to represent the
danger associated with freedom of
speech, and journalism
This shot is suggestive to the
sadness included in the storyline.
As well as the rain which is themost obvious to the viewer
because of the macro effect used.
The shot also shows middle class
homes, underneath a dark grey
sky symbolic of the confusion and
dismay.
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Here the sound drops and a dial-tone sound is placed in to add to the effect of helping them to remember
this particular part given the release date of the film. This is also commonly found I teaser trailers .
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