Welcome to our "Side Quest Sessions" series! Today, we’re diving into the thrilling realm of game trailers. As a leading video game creative agency in California, specializing in the video game industry, we know what it takes to craft trailers that not only captivate but also convert viewers into players. Let’s explore the essential components and expert strategies that make a game trailer truly compelling and effective.
To understand how to make a video game trailer and elevate your strategy, listen to insights from these two industry experts. They provide valuable advice on crafting compelling game trailers, helping you make informed decisions and maximize the impact of your marketing efforts. Implementing strategies like those used in the best video game marketing campaigns can enhance your trailer’s effectiveness and reach:
1. Understanding Your Audience: A successful trailer starts with a comprehensive understanding of your target audience. Identify who you are addressing and what key message you want them to take away. Whether your game is a brand-new video game IP or an established title, knowing your audience helps tailor the trailer’s content, style, and tone to resonate deeply with potential players.
2. Assess Your Assets: Evaluate the resources at your disposal, including your budget, team members, and existing promotional materials. This assessment will aid in effective planning and resource utilization. This encompasses concept art, 3D models, and other visual elements.
3. Game Status: The status of your game—whether it is a new release, a new IP, or an established title—will significantly impact your marketing strategy. New games might require more introductory content to build excitement, while established titles could focus on updates, expansions, or new features.
4. Teamwork: Crafting a compelling trailer is a collaborative effort. The process involves a harmonious team effort, including 3D modelers, riggers, animators, video editors, and trailer creators. Each team member plays a crucial role in bringing the trailer to life, from initial concept to final cut.
5. Compelling Script: A well-crafted script is fundamental to a successful trailer. It should not only tell a captivating story but also engage and resonate with your audience. A detailed script guides the visual and auditory elements of the trailer, including voiceover lines, sound design, and action sequences.
In our in-depth interview with Sean Murrin and Joe McGrath, we explored essential topics to help you master the art of game trailers. Here are some key takeaways:
1. Planning Your Script: A meticulously prepared script ensures all parties are aligned with a cohesive vision. It should include detailed notes on voiceover, sound design, and shot-by-shot instructions, making sure everyone involved—from editors to sound designers—is on the same page.
2. Types of Trailers: Understanding the different types of trailers is crucial:
3. Tone and Style: Establishing the visual and auditory tone of your trailer is essential. Use references and style frames to create a consistent look and feel. Whether opting for a vibrant comic book style or dark Gothic tones, the trailer’s tone should align with the game’s theme and target audience.
4. Sound Design: Sound design plays a pivotal role in enhancing the overall trailer experience. Thoughtful use of sound effects and best game trailer music can significantly impact how the trailer is perceived and received by viewers.
5. Gameplay Footage: Authentic gameplay footage is crucial for representing your game accurately. Use editing techniques to highlight the best moments and build trust with potential players. Showcasing genuine gameplay helps in setting realistic expectations and generating excitement.
6. Call to Action (CTA): Incorporate a clear and compelling CTA such as "available now" or "download now" to drive viewer action. A well-placed CTA can boost your trailer’s effectiveness and contribute to the overall marketing strategy.
We’ve had the pleasure of working on some truly exciting projects:
Evo Fighting Game Tournament: We created a giant billboard video for the Evo tournament in Las Vegas, using a three-story LED screen to give the illusion of something living inside. The project was completed in just a few days and turned out spectacularly.
Hot Wheels x Roblox Collaboration: This full 3D animated trailer showcased a candy-colored Hot Wheels world, complete with car and character customization, followed by a high-octane race.
Other Projects: We’ve also worked on trailers for iconic brands like He-Man, American Girl World, and Roblox, creating captivating CG trailers that bring the game assets to life.
At Waypoint, a leading video game creative agency in California, our mission is to deliver high-quality work while minimizing challenges for our clients. We go the extra mile to capture top-notch footage and ensure every component aligns with the game’s vision. Crafting game trailers is a delicate balance of creativity and effectiveness. By understanding different trailer types, key elements, and common challenges, we aim to produce trailers that not only engage and inform but also highlight the unique aspects of each game.
Sean: Hey everybody, my name is Sean. I'm the CEO over here at Waypoint and I'm here with our creative director, Joe. What's up, Joe?
Joe: What's up, everyone? What's up, Sean?
Sean: This is a series of videos we're making, and this is the first one. I'm going to walk you through a bit about what we do and then we're going to talk specifically about one of the things that we do, which is trailers.
Waypoint is a creative agency that started 15 years ago and there are just about 50 people working full-time in our shop. We're focused exclusively on the video game industry, and we do three different things and in no particular order, those things are creative, collectibles, and e-commerce. Creative covers almost all the marketing assets a video game company could dream of.
Collectibles are the physical items, and that could range from making one giant statue all the way to making 30,000 or 100,000 units for a collector's edition. We also do something in the middle called influencer kits, where we'll make 50 or 200 units of something really neat to send out to all your influencers out there.
Today, like I said, we're talking about trailers, which is in the creative services department. Joe's going to walk us through some of the finer points of how to make not only a regular trailer but a great trailer.
Joe: That's right, Sean. Today we're going to take a closer look at some of the important points to consider during your creative process to make sure that your trailer looks great, captivates your audience, and speaks to the correct audience.
Sean: All right. So, like I said, we're going to talk about trailers today. Joe, can you give us some good things to think about when we consider the basics of making a video game trailer?
Joe: Absolutely. A couple things you want to think about are your audience; Who are you speaking to with this? What do you want them to take away from it? You also need to consider if your game is a new game or a new IP that nobody knows or if it is already well known. Can we dive right in?
Also, think about the assets you have available, what you have to work with. Do you have concept art? Do you have 3D models? Things like that all go into our pre-production process to help roll out what this thing might look like.
Sean: Yeah, sometimes we get assets, but sometimes we don't get a lot of assets, and we have to recreate them or make them from scratch. Isn't that right?
Joe: Mm hmm. Yeah.
Thankfully our creative team helps with that a lot—3D modeling, rigging, all that good stuff if we need to. We can also animate static key art and bring it to life, which is really fun.
We can also capture gameplay for you, which we've been doing on a couple of recent trailers to illustrate those game mechanics, get some stuff to work with, and start editing.
Sean: The next part of making a trailer, correct me if I'm wrong, is writing a good script.
We sometimes spend, in my humble opinion, way too much time making the script, but it's a process that we work on with the customer closely and there's lots of back and forth. What do you say about making scripts?
Joe: I think one of the reasons for that is because there are a lot of moving pieces. There are multiple editors, a producer, a director, and people working on vo. Having every little action and every little cut almost spelled out from animation to what the VO line syncs with is a lot of work. Having a good technical script, as we call it, helps us align all those parties working on the trailer.
Sean: The next thing I was thinking of, Joe, is what are the different types of trailers?
Sometimes it's confusing, not only for people out there watching them but even for our own customers. There are a lot of different types of trailers, and they all serve a different purpose. For example, a gameplay trailer, and there are a bunch more types. What do you think?
Joe: You see all those on YouTube and on IGN. You'll see several different trailers come out leading up to a game's launch. Probably the two most common are the announcement trailer, which tells everyone "Hey, this is coming. Be on the lookout for it," and the launch trailer, which is really the big reveal, usually dropping on launch day and giving you the best look to date of what that game is going to feature and what it's all about.
There are also a couple of others, though: gameplay trailer, cinematic trailer. All of these are woven into the marketing beats of the developer and publisher to make sure all the information gets out there to the audience in time.
Sean: We're working on a bunch of trailers for the next Pac-Man game right now.
Joe: Yeah, that's right.
Sean: Some of them are 2D, some of them are 3D, some of them are long, some of them are short. How do you define the difference between a gameplay trailer and an announcement trailer?
Joe: Well, the launch trailer is usually the most exciting because that's when we get to reveal the most. They want to save some surprises for that launch day, right?
When they make an announcement or teaser, it's great to build anticipation. But then for that particular trailer you mentioned, the launch trailer, we come in guns blazing and do a full cinematic 3D rendering. We bring all these elements to life in full 3D with character animation and VFX. It looks absolutely awesome.
Sean: I guess making a Pac-Man from scratch is a lot easier than making a Chocobo from scratch.
Joe: That's true. The 3D modeling was more challenging than you think, but it wasn't the worst. It was pretty simple.
Sean: So, we talked about launch trailers, announcement trailers, and gameplay trailers. You mentioned cinematic trailers, and I make a difference between a cinematic trailer and a story-driven trailer. Cinematic trailers usually feature cut scenes from the game or 3D/2D animated scenes made by an agency that aren't necessarily in the game, without any gameplay. And we have story-driven trailer, what do you think about that?
Joe: A story-driven trailer I feel like is based more on narrative and voiceover. The ones you were talking about previously, like those from League of Legends or Diablo, are almost like short films giving you a window into the game's universe. Those are absolutely awesome and very involved, taking a long time to make if you're doing everything from scratch. But you can also have a very narrative-driven trailer that makes use of key art.
For example, Elden Ring did something like that, where they introduced the world and the story with a haunting voiceover and made use of just concept art. You can still have a lot of narrative without fully building out a short film.
Sean: On the opposite side of the story trailer, there's a release date trailer. The release date itself is an important and exciting marketing event. Everybody wants to know when the game is coming out. Sometimes we do a release date trailer, right?
Joe: Yeah. And I think that relates to something every trailer should have, which is a great call to action or sign-off at the end. Where are you directing people? What's the purpose? There're tons of anticipation every year for those release date trailers. We see that at Summer Games Fest.
At all the gaming trade shows, just getting that release date is huge for the fans. So, that's an awesome thing to build up to. And when they drop that at the end or they drop "available for download later today," I love seeing stuff like that. It really generates a ton of excitement online.
Sean: Sure. The next two things I can think of are the DLC trailers and a teaser. We didn't really explain the difference between a teaser trailer and a regular launch trailer, for example. So, DLC and teaser, what do you say?
Joe: Yeah. So, a teaser, I feel like, depends on how much stuff is available. Maybe they have an early build of the game and just a few things are good to show at that point in time, but you can still sort of use title cards or other animation and motion graphics to build something out of that. And the DLC was the other one you said, right?
So, DLC is more geared toward a specific audience, I would say. You see that a lot with already established games. But still, it's an important part when you're trying to come back and build up energy again after your game’s success or after a marketing beat you already had. We saw that recently with Elden Ring as well. And yeah, tons of games definitely like to give you a closer look at what you can expect. But at that point, the audience has already been captured, right? And you're speaking to them like, "Hey, come back. This is going to be sick."
Sean: You spend a lot of time working directly with the team. When I say the team, I mean video editors, graphic designers, 3D animators, 3D modelers, sound designers, and that kind of stuff. And one of the things we go back and forth on a lot is the structure of the trailer.
So, how do you structure a trailer well or in a good way, I should say?
Joe: Yeah, structuring the trailer. So, I guess for that, a lot of it is done in pre-production. We like to start with something called a treatment, which is basically a short paragraph that sums up like, "Hey, what's this going to be about? Tell me the story using basic language in one paragraph." From there, we'll kind of move on to the next step. Collect some mood boards and maybe even make style frames to help illustrate the visual look. We put that together with a technical script, which is the biggest format for structuring a trailer. A lot of people jump straight to the storyboard or they're familiar with a storyboard. It's kind of like a main way of structuring a video. But we use something called the technical script, which is really great because it has voiceover notes, sound design notes, and it goes shot by shot and helps inform that storyboard later on.
So, technical script and storyboard, I think, are the two big pieces there.
Sean: And what kind of stuff do we put in trailers? Usually we sometimes capture live-action footage or gameplay. What goes in there, and what's more important, or how do they work together?
Joe: Yeah, so a couple of core components. Live-action footage is possible. Title cards, we always see those, and slates are still an effective way to communicate your message and have little chapters. Gameplay footage, right? That's one of the things that we capture with our team in-house. It's fun because we actually get to play the game sometimes early, which is really cool. And sometimes cinematic shots from other parts of the game. What else? And sometimes full-on CG stuff that we actually build. So those are all the things in the melting pot. And then with a really slick edit, they all come together.
Sean: So, let's move on. After we talk about setting it all up and what we're going to put in there, there's something you and I talk about all the time, which is the tone or the style of the trailer.
Joe: Yeah, that's got to be my favorite part. That's where a lot of the creative and art direction comes into play. So, the best thing for this is just references and style frames. I would say it's awesome to sort of cook up a sneak peek.
We'll open up one of our 3D programs, get the 3D team together, and render just one frame to give a taste. And there are a lot of different styles that we can really work with. Like when we're pitching, it's like when we're pitching, but also in the look development process in general. It's really fun to try out different styles. Like we did one recently, we were trying to get comic book animation like Spider-Verse, right? Or we'll do really sort of serious Gothic tones with dripping wax, like any sort of thing. It's really quick these days to iterate real book development in 3D. And that's part of what's so great about having that 3D team is getting it.
Sean: As the creative director at Waypoint years ago, that phase of trying to nail down the style was sometimes a bit of a sticking point. You know, the team wants to do something artsy and creative, and the customer doesn't want us to modify their art or their assets.
Joe: Yeah, and so my philosophy on that is always give three options, right? You can't go wrong. If one is crazy and intense and wild and probably the one you want to do, and then a few safer bets and some just creative but tasteful, it's always good to give them the option to choose.
Sean: Yeah, I'm not saying we do this all the time, but sometimes we give them the option Joe wants to do and then two bad options.
Joe: Yeah, we try not to, I swear. We're always trying to elevate our clients.
Sean: What about sound? We were talking about Lucio, the sound designer, but sound, music, or sound design plays a big role in the video. Something we've learned, I'd say, halfway through the life of our company was something I didn't accord a lot of importance to. And when you joined the team and we started upping the game a little and making higher quality videos, we realized that sound makes a big difference.
Joe: Yeah, definitely. And I think lately we've been going even further trying to reinforce all this great animation that we do with sound. I mean, there was a time when we would get a royalty-free track, we'd get the voiceover and, you know, that gets you 50% of the way there. It sounds pretty decent. But once you start thinking about, okay, like sound design and animation, how do those two things work together? Picking from an awesome library of sounds and even having, like we talked about Pac-Man, having the little jump sound effect or having a crowd cheering, but there's also the Pac-Man waka waka sound effect hidden in there, right? So tiny details like that, when you're listening on headphones or you actually have great monitors, you can start to pick up on some of that and it makes the animation shine even more.
Sean: All right, there's always one thing that I force the customers to provide us. Most experienced customers or customers that are used to writing briefs for agencies like us don't struggle with this, but it's what we call the USP, the unique selling points.
Joe: Yeah, critical.
Sean: It's really important for us, especially if we're not familiar with the game or what to focus on. And so I think one of the things we need to consider all the time is what are those USPs? And not only what are those USPs, but how are we going to highlight the USPs? How are we going to also make what we're saying or writing in a call match with what's on the screen? What do you think?
Joe: Right, yeah. So, as an agency, we must work closely to understand the goals for something like this. We can't just go in and be too creative; it gives you something that's fun to watch but maybe has no results or doesn't hit or resonate with the fans. Too much marketing and it feels like a sales pitch, so we have to balance that. And one of the ways we do that is understanding, okay, with this particular game, what is it that... we want to show, like you're saying, and then we can weave that into more of a narrative-based trailer or an interesting story while still making sure we touch on all those things. And sometimes it's not so in your face; it's not like "new DLC available now," "download now." It doesn't have to be a bunch of "download now." Sometimes it's just like we're introducing a new mechanic this season in our game, and so we get some really great shots of that, and we show it off.
Sean: I couldn't agree more. I think that coming up with those USPs and making them resonate is one of our strengths. Sometimes we have a game where the graphics aren't that great, but the gameplay is fantastic. It's up to us to sell the game because the trailer is a marketing asset. It's up to us to point that out, but in a more subtle way to the viewers.
Joe: And I guess related to that is that title cards can only do so much. So, we need a killer edit to go along with that, that takes you through our outline for the story of this trailer. The edit has as much to do with that as the title cards you see and the actual animated text you see in the trailer.
Sean: And the gameplay footage, you know, as much as we like to say how awesome the game is with title cards or show it off in that way, there's nothing that beats showing gameplay footage. However, it's a double-edged sword where we need to show the right gameplay footage, or maybe the game isn't in a good state to show the gameplay at this point. So, what do you think about showing gameplay footage?
Joe: Yeah, I think it's great. I think there are a lot of trailers that sort of phone it in a bit when it comes to gameplay footage because you're dealing with a completed game. This is how it looks like we want to show it honestly. But at the same time, if you look at some really great trailers, they still do editing tricks like crash zooms or match cuts or cutting on action. All those editing principles still come into play when working with the gameplay footage. And I think that makes it look awesome without necessarily being too misleading about what you can expect with the game. And that's another thing that goes along with it, right? We want to honestly showcase the gameplay footage and show it in its best light. Sometimes you'll have a cinematic trailer and it's the old bait and switch where the game looks nothing like that. So, when you get to actually show the gameplay, it does give you that honest look at what the game is.
Sean: I remember when we drove down to the offices of Sega to capture gameplay footage on the Puyo Puyo Tetris game.
Joe: I wasn't there for that one, actually.
Sean: That was Lex and I. We had to pack up this computer that I had built myself and we packed it up into the Pelican case, shoved it into my truck, drove all the way down to the Orange County area, and we whipped that thing out in their offices and started capturing footage with the capture card built into the computer. We were able to capture it in 4K and that was a big deal back then. We got home with all the footage and were quite proud of having done the whole kit and caboodle of capturing the footage ourselves.
Joe: It's not easy. Sometimes you have to learn the dev commands and the debugging commands for the game, and it's always great to be able to give yourself infinite health.
That feels pretty awesome.
Sean: We talked about title cards, and there's one that I think the customers often consider the most important, which is the last one, or the call to action, where we see some kind of animated end screen where there's usually a call to action.
And you were saying don't always put buy now or download now.
So, what do you think about the call to action?
Joe: I mean, like available now is an effective call to action, right?
Buy now, download now, especially if the main purpose of your trailer is converting people and you're going to use it for paid marketing or performance marketing, then I think there's a time and place for it, right?
But other times, like it's just a nice little period on the end of a great trailer, and it's certainly easy enough for everyone to find all the links they need coupled with the trailer.
So, it's sort of, I guess, we see it more on kind of like assets that are used for paid marketing or AB testing, where we really want to hit some marketing performance goals.
And there's a whole science behind that that I won't bore you with right now.
But yeah, it's sort of, I guess, situational.
And like, usually we make tons of different variations of a trailer and change that around on them as well.
So, it could be multiple things with just using the same trailer.
Sean: So, I'm not trying to trigger you here, but I'm going to whip out a few sentences that sometimes drive me crazy. And maybe you too. Okay.
Customers ask us to make things pop or can you tighten it up?
Joe: Yes.
Sean: So, what do they mean when they're saying stuff like that?
Joe: So, tightening it up. Yeah, that's a great one. I love this segment. Tightening it up. It to me usually refers to the pacing of the edit, right? Which can sometimes lag if things aren't lined up with the VO or if a shot lasts for too long. You know, it's loosey goosey. So, we need to tighten it up like that. That one makes sense. And what was the other one you said? You got to make it pop.
Sean: We got to make it pop.
Joe: So that I translate to make the logo bigger, right? But also, you know, with that, like, of course, you can bring in color.
Like you got to make sure all your design principles are at play here, like contrast and, you know, making sure you're right using the right color theory to make sure things jump off the background.
A lot of times is negative space to write like making sure there's not too much going on the screen at once, like letting elements breathe, like how big your text is, how big your legal lines are, any, any animated components that you have on screen. It's interesting because, even though everything's moving in a video, people think about composition, like design composition for each frame. And so sometimes in the storyboard, what we're able to like show that and get, or in those style frames I was talking about, we're able to see like, okay, this shot, this is the composition. There's a main character, you know, if we really want to get into it, we use the golden ratio and try to make sure that, you know, this is going to look great even when this shot's moving.
Sean: As an agency, I know that our goal is to deliver things that are high quality or high end and kind of spare the customer from all the pain we go through to make something.
I know that suffering involves some mistakes.
And so, if I was to ask you, you know, what are the top mistakes that maybe you catch from the guys in house before the deliverable gets sent off to the customer?
Joe: Yeah, I think like using unfinished assets, not great. Like sometimes that's all we have to work with and that we always hit a snag with like, oh, actually we decided to take that character out at the last minute, so we can't use that, but we're already really deep into it. And maybe we based the whole trailer around that character.
So that can definitely create issues. I think, you know, another mistake to avoid is not using a real copywriter. This is like one of those things everyone thinks they know how to do. And there have been, you know, breakthroughs with chat GPT, lately. I mean, we can get a lot further than we used to be able to, but really having like good copy that's like engaging and like we talked about voiceovers and having it sound like it's from that world.
This is like an awesome opportunity to have people working on your game. Like give that personality to your trailer, right? So, like it bridges the gap between the devs and an agency.
Sean: A person that knows how to tell a good story is worthwhile.
Joe: Yeah, it grabs your attention right away.
Sean: On the post-production side or the animation side, or how do, how could we screw up?
Joe: It's usually like technical, not really technical things. It's usually like license of licensor approval things, right? So, things will need to maybe like we inverted something or, you know, which like you're not really supposed to do. So, I can't believe I just admitted that, but maybe like some things revert, we reversed the art or something, but that art can only be shown going from left to right. Or maybe we didn't use the right sort of like texture for the costume of a character.
And it's a very specific sort of look and feel to it. Like all of those things we wanted to, I guess, be true to the game and the world and the IP.
So, sometimes in the spirit of making it look awesome and slick, like of the times today, we negate the real licensors IP version of things. And so, we have to be true to that.
Sean: Yeah. A bit of overzealousness.
I remember once we're doing a live action trailer for a switch game and uh the camera crew that we were using didn't have appropriate microphones and so the sound came out terrible.
Joe: Yeah that has you know happened more than once i hate to admit um but yes being prepared with like the right equipment if you're going to do a shoot on set like just pre-production doing pre-production properly i mean it at the time it seems like kind of a buzzkill because you're just excited to get on set but like that does save you a lot of time even thinking about things like catering and making sure we brought the right mics the right lights uh is our space big enough to fit everyone right we've had that problem before too um so yeah but i don't know I'm definitely used to running around getting last minute props uh for stuff like that so it's kind of part of the fun.
Sean: All right joe, so let's talk about some of the things we've done in the past and that might help us illustrate some of the concepts we're going over here today one of the more adventurous things we did recently was a giant billboard video corner of a building.
Joe: Yeah, so I finally realized one of my lifelong dreams since moving to LA, which is to work on a billboard—like a real piece of physical media or, yeah, physical ad display. And this was an awesome project; it was for EVO in Las Vegas, a fighting game tournament, really big deal. And we got to use a two- to three-story LED video screen on the side of this building and create the assets for that. It was for Tekken 8, and the way we did it was from the perspective of the corner—it creates an illusion that something's living inside of this building. So, it used two faces of the building, and we were able to put some awesome sort of Tekken world. It's raining, there's lightning, it's really gritty, and we have the character sort of flying out of that with a floating screen and breaking chains. I mean, yeah, this thing looked awesome. We pulled that together in just a couple days.
Sean: I was about to say, and it wasn't a bit of a quick turnaround?
Joe: Yeah, it was like five or six days. The 3D team got together and built the environment. We had to do some crazy texture mapping to get the perspective just right, and then the motion graphics team kind of closed it out with all the right logo animations and copy, and yeah, we shipped it.
Sean: Let's talk about the Hot Wheels trailer we did. It's been a bit of a while ago, if I'm not mistaken, but we did a full 3D animated Hot Wheels trailer.
Joe: Yeah, and so this one, I think, was for a Roblox-Hot Wheels collab, if I'm not mistaken. But yeah, I was really proud of the environment in this one. It was a super candy-colorful Hot Wheels world. This is really the look that we were going for when we first made our mood boards, and I think we absolutely nailed it in the final thing. But in the beginning, we sort of touched on how to customize your car, maybe how to customize your character. And basically, there's this shot of the garage door opening, all these rays of sun shoot in, and you peel out into the world. And then from there on out, it's just this colorful, awesome landscape blurred behind you, you know? And you jump off a ramp at the end, so it really kind of got the high-octane racing feel, but also all that customization was integrated too.
Sean: We did a few other trailers for Roblox, if I'm not mistaken, or for Roblox games, I should say. And uh, there was He-Man, American Girl World, if I'm not mistaken. Is that right?
Joe: Yeah, yeah, American Girl. That was like the most recent one I think we worked on for that. But yeah, Roblox is cool. I mean, a really cool platform, but they're always sort of doing collaborations with bigger brands to sort of bring people in and give them like a game experience. Um, and it's super kind of modular and there's a lot for developers there. So, that's why a lot of times you're able to experience something that you like and then you can put together an experience geared towards something you like. But anyway, this isn't an ad for Roblox or anything. I just think they're cool. Um, but yeah, for American Girl, it's sort of like an introduction to American Girl World. We got a lot of their assets from the game to sort of work into a CG trailer. So, they gave us things like the store, they gave us things like the downtown area or the airport, and we sort of repurposed those, retextured and made our own characters, and we had the camera flying around, and there's like a little star that travels through the city and reveals each of those locations. So that's what we did for them.
Sean: Alright, that's about it for how to make a compelling trailer. This is the first video in a series of many videos that are going to come out, and I want to thank you guys for watching. Thanks, Joe, for being here with me.
Joe: Thank you. I had a great time.
Sean: And if you guys liked it, maybe you could subscribe so that you get notification next time we drop another video. And if you have any comments or feedback, let us know in the comments below.
