Media Language
At A2, I made the promotional package for a new film called RISK. This comprised of a trailer, a film poster and film magazine cover. My trailer for RISK introduced the drama of a psychological thriller in which a group of young individuals find themselves being controlled by science.
Trailer, as a genre, I have a set of conventions such as ellipsis and fast paced editing with hard cuts (which I will discuss when I write about editing), focus on the protagonists (to establish key players for audiences who need to pick up very quickly the bare bones of the narrative); tracking shots to link narrative sequences; emotive sound that establishes mood and anchors visuals; text that offers key information (relate dates, stars, director, institutional information, 'puff') and overall should generate a sense of anticipation, drama and excitement.
Our promotion is part of our promotional package that includes a film poster and film magazine cover, both of which have their own visual language and sets of prints conventions regarding layout, framing, typography, colour choices, font sizes, 'house style' (for magazines), bar codes, dates & dates, QR code, billing block (posters), social media & website links (posters). Then over-arching, most important part of media language, however, is that the promo pack as a whole delivers a cohesive, integrated visual package that creates a visual synergy in making the production (the film) memorable.
Camera work
All of our camerawork (by which I mean camera movement, camera angles, shot types) was designed to serve the overall aim of the production, which is to generate intense interest in the trailer as a means of persuading audiences to see the film itself.
Editing
Intertitles help to create cues and show the narrative of the trailer. For example,
Mise-en-scene
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