Divertimento Productions

TRAILER CONSULTATIONS


"No one was impressed with my first fundraising trailer.  I was going around in circles trying to fix it until Bill pointed me in the right direction.  Now it's generating major interest on my website."

– filmmaker, Colleen Stratton (“Psycho Kitties)

 

Costs

Edit room consultations

  • $120 per hour for an in-person, hands-on session (usually 2 or more hours)

  • $100 for a follow-up visit to review changes and make suggestions

Online consultations

  • $250 for a thorough examination of your trailer and sending you detailed notes suggesting new idea and changes. Includes phone calls to discuss these changes.

If you later decide to have me fully edit your trailer, consultation costs will be credited back to you. Please call for details and prices for this service. Note: I work in AVID; if your project is FCP, I work from a DVcam output of your full-length piece.

 

“Your trailer is the greatest asset to financing your film.”

- Carole Dean, Roy W. Dean Film Grants

If you’re not raising money, your trailer isn’t working!

Find out why.

My consultation sessions identify the elements causing the problems and suggest ways to solve them. It’s the most cost-effective way to guarantee a great trailer.

Edit room consultation (Los Angeles area)
I come to your edit room and we watch your trailer together. I assess its strengths and weaknesses, discuss the problems in detail and suggest new ideas and solutions. We then “try out” these ideas by duplicating your sequence, moving sections around, adding and subtracting scenes. The process often takes 2 hours but can be tailored to fit your time and budget.

Online consultation
You upload a Quicktime file of your trailer to my file-share site. I email detailed notes regarding ideas and suggestions for changes. We then discuss and clarify these changes on the phone.

Concept development
I view a rough cut of your long-format piece on DVD or Quicktime file. I then conceive various ways to go about creating a dynamic promotion piece. I identify what would work best in the trailer: suggest kinds of styles, dramatic tone and music choices that can be used to illuminate your material and give it a strong trailer feel.

“Bill is extremely sharp about pulling strong sound bites and structuring them in a compelling fashion. He has great energy and it comes through in his work.”

- filmmaker, Heather Lenz (”Kusama”)