Pitch the film, get the teaser

A trailer is rhythm, not story. A hook in the first second, shots that stay on screen two or three seconds, and a score that builds to one hit. Most AI video tools hand you five second clips and leave the rhythm to you, so a "trailer" ends up as four slow shots in a row. Trailer cut is the switch that fixes that: the planner gives each shot a short beat and the editor trims to it.

1. Typed the premise above. The writer came back with a short script, a title (FIRST LIGHT) and four lines between the pilot and her crewman.
2. Locked four things before any frame: Kaja, Ivar the crewman, the sea ice and the orange helicopter. Each is a one-line description and a 1 credit reference image, and it is why the helicopter is the same aircraft in the first shot and the last.
3. Seven storyboard frames. I kept all seven; in two close-ups Ivar lost his life vest, which the clip put back from his reference.
4. Set Clip quality to Final, so every clip rendered on Seedance 2.5 at 1080p (16 credits a second) and the film exported at 1920x1080.
5. Let the editor cut it: it trimmed the slow approach and the cockpit holds, kept every line, and held the last shot long enough to see how small the helicopter is. Added the studio's score and exported. Nothing on this page was cut by hand.

• Write the ending image first. FIRST LIGHT was built backwards from the column of light.
• Hook with motion, not a landscape. The crack running under the helicopter does more than any establishing shot.
• Lock the props that matter (an orange helicopter). Colour is what makes a small figure readable in a wide shot.
• Put any words in an editor afterwards. Text the model paints inside a picture comes out garbled.