![]() ![]() The dialogue goes full steam ahead as if the gameplay wasn't happening (and vice versa). In the Maquette trailer, nothing in the gameplay is timed around the dialogue. ![]() What I mean is, the timing of the shots cuts with or around the lines. Sometimes all you have to do is show the audience the gameplay footage is at least aware of the dialogue. But if you selected different lines and put them in the same slots with the same timing, it would still form connections. ![]() To be clear, the dialogue selection and storytelling in this trailer is great too. This trailer for We Are OFK is a good example of dialogue integrated well AND into a song with lyrics, which is extra difficult. Sometimes the dialogue selection isn't great, but it works when well edited into the soundtrack. It might not be 100% woven together, but it's frequent enough people know not to ignore the dialogue. I tried doing this for the whole trailer, never going too long without forming a new connection. The next line about the plants is also pretty disconnected, but the next line about a recording matches a shot of a tape recorder. The point is I tried to include no more than a sentence or two of dead air before making a new connection. The crank is part of the pump in the game, but I think I could've put any visual of something mechanical to make people think they're looking at the pump. This is at best a loose connection to the visuals and risks the whole thing unraveling.īut the next line is: "I have the gardeners." and "Every day, I get up and pump out the rising water." The gardeners connect to the image of the robots, and the word "pumping" matches to the robot turning a crank. I don't feel alone though." don't really have corresponding visuals because this is when I show the robot clones. The following lines: "For more than 30 years now. For example, the first line of the trailer I made for The Last Clockwinder is: "I've been out here, at the Clock Tower." I matched this with a shot of the clock tower. If the voiceover mentions something, I want to see it in the visuals. This is the most obvious way to integrate dialogue and visuals. Here are a couple ways to weave dialogue with gameplay. It took me years of practice doing this, and even now I still discover ways of doing it better. If you're not an experienced editor I don't expect you to be able to do this even after reading everything I write. Apparently in the actual game, the dialogue and gameplay don't integrate either (which means this trailer is accurate to the experience). Had the dialogue and visuals made more connections, it would be a stronger trailer. The Maquette trailer above is like two ropes which crossed over once and then went in separate directions. This is due to: sheer volume of dialogue, it's another thing to cut into the soundtrack, difficulty finding good lines, and creating a story.ĭialogue and gameplay are like two pieces of rope you weave to make a coherent trailer. Incorporating dialogue into a game trailer is one of the hardest things to do. ![]()
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