Teaser Cut

Knowing that I would require a considerable amount of time in post production but facing a deadline for the camera review – I put together a quick teaser trailer for both myself and my actors to utilize to buy some time.

Working with footage for the first time with Adobe Premiere CS5 was an absolute dream. With this teaser trailer, I experimented with some thematic choices both in terms of color grading and music.

I’ve received quite a bit of criticism from some non-FilmmakerIQ forum readers that complain about the name of the film and the music.

First of all, when I came up with the title of “Pitch Black” I didn’t know it was the same name the Chronicles of Riddick. I assumed the Vin Diesel film was called “Chronicles of Riddick”. I did do my research after writing the script but I decided to use the name anyway because it fit. In Legal terms, I have every right to do so because you simply cannot copyright the name of a movie (unless it becomes a franchise like Star Wars).

Legally I’m fine. But will people confuse my film with the Vin Diesel one? Not likely. Riddick is a sci-fi feature. Our film is a short thriller. I highly doubt anyone seeing a marquee or poster will be confused by the marketing.

And if you’re on this site reading the “Making of” section and still think I have Vin Diesel hiding somewhere on this site… I don’t think reading is you’re forte…

The second criticism I got a lot of was the music. When I released this trailer, it was right after Inception hit theaters and my trailer was compared to the Inception trailer. Yes, I bought into a lot of the Inception excitement and I think Nolan is a terrific director. So yes, I stole the idea of a ominous fog horn like brass to simulate approaching danger – just like a writer steals a plot device from another movie, or a painter uses the same color scheme from a painting he liked. I took the ideas and rewrote them myself with sounds that I have complete rights to. And I did this all BEFORE seeing Inception.

Once I saw Inception and read a little about Hans Zimmer’s process of writing the music (how it’s all suppose to be La Vie En Rose slowed down) I realized my score had NOTHING to do with Inception.

 

Next: Editing in the Dark