As a promotional trailer video editor, I work across a wide range of content and editing styles. In this article, I give a practical overview of how to approach a trailer edit, based on my own experience editing network trailers for the BBC and Red Bee.
Seconds to sell
Working as a promotional trailer video editor for the BBC and Red Bee, I edited network presentation trailers to promote some of the nation’s favourite programmes. Great trailers need to capture the audience immediately, hold their attention, and communicate the programme’s appeal, all within a very short window. At the BBC, most trailers averaged 30 seconds, though durations ranged from 10 to 90 seconds.
Content to promote
Depending on the project, I would typically work alongside a producer to deliver each promotional video. In some cases, the producer brought specially filmed material, commissioned graphics, or animations. In other cases, we built the trailer entirely from vision and sound clips selected from the programme itself.
Combining those clips with a music track and voiceover helps broaden the programme’s appeal and maximise viewing figures. To achieve this, a promotional trailer video editor needs to make the most of every single frame. For UK broadcast, each second of video contains 25 individual frames.
How to start the edit
The best place to start when editing a trailer is the audio. For example, a 30-second trailer for network television may need to end precisely at 29 seconds and 15 frames to transmit cleanly. Therefore, a good first step is to edit the selected music track down to that 29s15f duration. This can be challenging with some commercial tracks, but getting the music right first gives the whole edit a solid foundation.
The trailer needs a strong opening and a clean musical ending. Once the music is at the correct length, add any other elements with fixed positions. These might include an opening or closing graphic board, or a powerful image from the programme.
Adding guide voiceover
Next, consider whether the trailer needs a voiceover. If so, record a guide voiceover and edit it into position early in the process. You can always replace it with the final approved take once the trailer receives sign-off. When I edited these trailers, I would usually cut together sync sound taken directly from the programme or film. Sometimes the producer supplied a rough script with timecodes for all the relevant audio. At this early stage, the priority is making the sound work within the trailer’s duration.
By laying down the video attached to that same audio, you also begin building the vision edit at the same time. Once all the sync edits sit in the timeline, you can clearly see the running time. Tightening audio gaps between words and phrases creates extra time and, as a result, gives you more flexibility when shaping the edit. A good promotional trailer video editor always looks for those available gaps to open up new creative possibilities.
Close your eyes and listen
With the main audio in place, play the trailer through and assess how it is working both in terms of sound and timing. At this point, it often helps to turn off the vision monitor and focus entirely on what you hear. Doing this removes the distraction of unfinished visuals and lets you judge the audio on its own merits. Additionally, adjusting the balance between music and dialogue at this stage helps establish the right overall feel. Adding mixes to audio transitions smooths the joins and eliminates any unwanted bumps between edits.
Editing the vision
Once the audio is in good shape, turn your attention to the picture. In many cases, editing the audio will have left a number of jump cuts in the vision. Consequently, the next task is to decide which visual elements to keep and which to replace with a different shot or cutaway.
Generally, it works well to keep the most energetic and expressive facial shots, and to fill the remaining gaps with relevant cutaways from the programme. After working through all the shots in this way, the result should be a trailer free of jump cuts that genuinely represents the programme or film you are promoting.
Colour grading and visual effects
Grading the pictures to match the creative brief is usually one of the final stages of the edit. Similarly, adding any text elements or special effects works best once the promo is nearly complete, and the picture edit has received approval.
Summary: how a promotional trailer video editor works
There is no single correct way to assemble a trailer. However, the approach outlined above gives a reliable starting point for any promotional trailer video editor working to a brief. To summarise the key steps:
- Edit the music track to the required duration first.
- Add any fixed elements such as opening or closing boards.
- Record and edit a guide voiceover into position.
- Tighten all audio gaps to maximise the available time.
- Build the vision edit around the audio.
- Replace jump cuts with cutaways and alternative shots.
- Grade the pictures and add any text or effects last.
Whether you work to a given brief or develop your own creative direction, the goal is always the same: make every frame count.
Promo video editor
For a promotional trailer video editor, there are many ways to assemble a trailer; this summary is just one example. You start with the elements you have, and either work to a brief you have been given or create something yourself that, in your opinion, works for the project, programme or film you are promoting. If you would like any help with your promotional video editing, please get in touch.
You might like to read these related articles to check out my video production blog for tips and advice.
