Premiere was vital software for constructing the trailer, as it allowed precise editing of footage, audio, effects and titles into a coherent sequence. Key functions included importing footage, arranging clips on multiple tracks in the timeline, adjusting clip opacity for layering, scaling clips to fit the frame, controlling audio levels, color correcting elements, and changing clip speed to fit the narrative and soundtrack. These various tools in Premiere were essential for completing the noir trailer 'Azrael' to a high standard.

1. Premiere
BY ROSIE CHILDS

2. Construction process
Premiere was a vital piece of software during the construction of our trailer.
Without Premiere we would have been unable to complete the trailer to such a
high standard as other pieces of software are not as advanced. In this
presentation I will be talking through some of the main functions and elements
of Premiere and talking about how we applied this to the construction of our noir
trailer ‘Azrael’.

3. File – Import –
selecting files to
import. This is how
we added the
footage to the
premiere project.
We made sure that
all our footage was
kept in one folder
that was on the
laptop as well as
two other memory
sticks so we could
edit the project on
multiple laptops.

4. This is the timeline and the tracks as well as the tools bar to the left where we edited all of
our footage. Placing it into the timeline from the projects panel helped us to order the
trailer and basically helps to create the desired sequence. As you can see we have many
different levels, these levels are for footage as well as different effects present, audio, titles
and soundtrack.

5. In order to position a piece of footage over the other we had to use
the effects control panel in Premiere. This changed the opacity of
the footage that was selected to create this layered effect.

6. Often, the frame we had used whilst filming the
footage did not fit to the scale of the frame
used in Premiere. We had to adjust this by
going onto the video effects panel and
positioning the footage to scale.

7. When we edited in the narrative and the soundtracks, we had to make sure that the audio
effects were correct. For example, during scenes of dialogue or voiceovers the emphasis
was no longer on the soundtrack. We controlled the levels in Premiere by using the Audio
Effects control panel to set the level of emphasis at select times in the trailer.

8. As well as changing
some of the opacity of
the shots we had to
colour correct certain
elements of the
footage. This piece of
footage in particular we
had to colour change as
we wanted to ensure we
had the vibrancy of the
snooker balls still but
the layered footage of
the femme fatale
needed to be darker.

9. Often we had to change the
speed of the clip that we had
inserted. An example of this is
the montage editing we have of
Jess in Brighton as well as the
slow-motion shots of the femme
fatale in the sea. The change in
speed also helped to display
narrative shifts and dramatic
moments within the trailer to
create tension. Slowing down the
speed of the clip also helped us
to edit in time with the
soundtracks as they all varied in
terms of style and tempo.