Edited sequence of film clips for cinema, TV, or digital release — sells the story in 30–120 seconds. Pacing and music are everything.
A few cuts, the right music, and suddenly people are in the cinema. That's the trailer — and it works or it doesn't, depending on whether you sell the story in 30 to 120 seconds or squander it. On set, you think about images; in the edit for the trailer, you have to think like a salesperson building suspense that the viewer cannot resist.
The mechanics are simple: you assemble a new, independent narrative from existing raw material — scenes that have already been shot and are available as a rough cut. This isn't just cutting. You ask yourself: What is the film's promise? Not the plot summary, but the emotional or narrative promise. A drama thrives on conflict and twists; an action film on pace and visual spectacle; a horror film needs suggestion rather than spoilers. The music carries 60 percent of the impact — it sets the tone before a second of action has even run. Cuts should be on the beat, not random. Every shot must raise a question or provide an answer, otherwise it's out.
Practically, you distinguish between several trailer types: The teaser (15–30 seconds) is enigmatic, often just a mood or a set-piece without context — for social media and pre-marketing. The full trailer (60–90 seconds) tells more, reveals story structure, but not the ending. Some studios produce three to five variations for different markets or platforms. This is exhausting, but necessary: what works in the US works differently in Germany. And what works on a mobile screen must still pack a punch on a 25-meter IMAX screen.
The trailer editor works closely with the original editing team, but often also uses additional footage — close-ups, alternative takes, even pure promotional shots. Sound design and color grading differ from the film's final version: trailers require more aggressive compression, brighter colors, louder levels. You play with timing — pauses create suspense, fast cuts create energy. Dissolve vs. hard cut is a strategic decision per scene. And the hook in the first five seconds determines whether the viewer continues watching or skips. This is not art, but craft — brilliant craft.