The significant cinematic sound found in movie trailers requires a certain size and impact in order to generate excitement for a film. And though many songs are a perfect match for a trailer with their lyrical content and tone, more often than not they lack the size and dynamics necessary to make the trailer feel, well, like a trailer. To achieve that impact, additional music and sound design needs to accompany the song. That’s where an overlay comes in.
For example, in the movie John Wick 3, an action-packed ride starring Keanu Reeves, the classic recording of “The Impossible Dream” would sound very familiar. But, simply laying the song into the trailer would not create the dynamics necessary to evoke the emotions provided by Brett Sorrentino’s tailored version of the song.
What drives the intensity behind action trailers like John Wick? Music and sound design. The impact of the trailer is enhanced by the cinematic refinement of the song, using various music editing and composition techniques commonly referred to as an “overlay.” Now, let’s take a quick look behind-the-scenes into the art of the overlay as created by film trailer editors and composers.
The Editor’s Dilemma
Typically the movie trailer editor or a video game trailer editor must find the perfect song with the right attitude and lyrical content to convey their story. But does the song also have the desired dynamics and the vital “wow-factor” to create excitement for the movie? Usually not. So what now?
The Solution
This is where a composer comes in to create an overlay. A composer will enhance the emotional effect of the chosen song by writing a new piece or sections of music in the same key, as well as create sound design elements to emphasize key cuts and moments in the trailer. The additional sounds and tracks, when laid alongside the initial song in the editor’s timeline, will elevate the music to reveal the intended energy essential for a high impact movie trailer.
What’s the Process of Creating an Overlay?
Every project varies depending on the unique qualities desired by the guidance of the editing team. While one project may require high impact drums or orchestral treatment, another project may reimagine existing synth or guitar sounds through enhanced instrumentation to embody the goals of the editor. To establish the proper mood, an Act 1 section could be composed to set the stage for the body of the overlay and allude to the primary song. Once the palette is determined, the composer and trailer editor must work together to make the music function as a utility, pushing the story forward through lyrics and musical moments, while maintaining ease of emphasized cuts and dialog.
But what happens if the overlay doesn’t elevate a particular section in the trailer? A good solution to this would be to compose an entirely new short piece of music, accomplishing the goal of that section and creating cohesion in the audio bed.
Why Overlays Are Not Equivalent to Remixes
Overlays are not remixes. The biggest differentiators between the two are intent and context. An overlay is specifically created to be used in-context of the specific trailer, alongside a song. Independent of an overlay, a single trailer may have 10 pieces of music and 100 pieces of unique sound design, all compiled together by the editor to create their sound bed. Essentially, a good overlay is making the editor’s job a bit easier by providing an organized arrangement and cohesive custom sound bed.
For ease of use, the composer of the overlay may incorporate the original song into deliverables to the editor, identifying where the two pieces of music fit best together alongside the picture. But the intent is always for the mix to be used in context of the trailer bed, not as a standalone song.
A remix is a chopped up song converted into a new piece of music that stands on its own. Remixes are popular in EDM and hip-hop, creating new interpretations of a song. An overlay is a separate piece of music created on a bespoke basis, designed as a tool to be used within the editor’s trailer, making the trailer come alive. Again, intent and context are two key differentiators of the overlay and the remix.
An overlay is created on a bespoke basis for a specific trailer, but in some cases, composers do create trailerized remixes of songs, such as Sencit’s Ides of March Vehicle remix and All-4-One I Swear remix, which do stand alone outside of the context of a specific trailer. Despite the similarity to overlay in cinematic styling, these two examples are considered remixes because they fully incorporate the original recording into the creation of a new recording with the intent for the track to stand on its own as a new recording.
Now you know what an overlay is and how it is different from a remix. If you’re looking for help with either, take a look at Sencit’s Bespoke services.
