Marketing | Jacek Kłopotowski | TRAILER PRODUCTION TOOLBOX | Digital Dragons 2026

Uh first of all, I want to thank you all that you came here. It's 5:00 p.m. So, most of the guests are probably in their trains and you're here. So, I'm really appreciate that so that you want to spend some time with me and hear about the trailer productions and how we do it in at 11 bit studio. Uh so, when people think about trailers, they usually usually think about the editing, music, or or cool shots that you can see in the final edit that you you you can check on the Facebook. But really, in reality, the gameplay trailers usually success or fail much earlier in the state of the production. They fail in planning mostly in communication and building communication around the trailers, in unstable builds which I'm going to talk about a lot today. And in missing tools and

production chaos that comes with it all. So, today I want to talk about the practical side of building trailers and toolbox behind the scenes that we face each each day in marketing. So, how do we make a killer trailer? Let's start with the what trailer isn't because trailer isn't just a marketing asset or material. It's basically the first time player will encounter your game. So, this is the like first impression. You know that you have only one first impression usually and how powerful the first impression can be. And mistake of treating trailer like an ad and list of features, logos, or taglines brings you to the place that it's becoming just an ad. And trailer, in my opinion and opinion of my colleagues from marketing and probably most of you, trailer has to be felt. It has to be an experience of its own and it has to be

designed like the the great in-game moments in your games. It has to have a clear objective and what do you want to achieve and what do you want to player to understand and it has to have some emotional hook that will keep players uh to want to hear and see more of your your game. And in the end, it needs to have some satisfying payoff so they want to make uh they want to see more of it. And if you hit all three, the gamer the trailer isn't just showing your game. It makes the player feel that they've already started playing. Uh and one more digression, the gameplay trailers has the most uh uh conversion rate on your wish list. So, keep that mind the the player gameplay trailers are pretty important. So, be go before I go forward, I want to share one of the trailers I had the pleasure to produce with my team. Uh I won't spoil what it is, but you can you can guess because I'm from 11 the studio and we have one powerful IP, so

let's enjoy this moment. I hope it will work.
Stewart.
Honorable Stewart.
Stewart. Stewart.
Oh, blind Stewart. Do you hear us, Stewart?
Do you hear us?
Stewart, are you listening? Stewart?
The great storm wiped the world clean.
Let's take it back.
But how?
The Stewart will choose our path.
Stewart, build us a better home.
A home for everyone.
Stewart, we still lack so many things.
People are starving.
More people, more mouths to feed.

They treat us like animals, left to suffocate.
We need a place to work.
Who else will feed our families?
Stewart, the smaller you will kill her.
Stewart!
WHERE ARE THE HOMES YOU PROMISED?
Can we all receive equal rations?
Hospitals are not a place for experiments.
Free education for our children.
Children stable growth.
City for THE CITIZENS.
STEWART, HEAR YOUR PEOPLE.
WE WANT a say in how we run this city.
THE TIME OF TYRANNY HAS ENDED.
Our delegates will make sure of that.
Let them vote.
Yes. VOTE.
STEWART.
DO YOU HEAR US, STEWART?
STEWART.
What about us?
What?
Impossible.
Stewart, did you hear that? The city The city was not

Yeah, I think you could all guess from the beginning that was the Frostpunk 2 because of the white and the city. Yeah, my name is Yakub Wolodarski and I'm an expert project manager at 11 bit studio and I'm responsible for bringing to life the campaign for the Frostpunk 2 and I'm responsible I was responsible from the beginning until the release and then now after after releasing the game. So, bringing the DLCs alive. And besides that, I'm working on some external 11 bit projects. So, the publishing department like Crop, Death Hall, The Invincible and I'm responsible for the whole uh event department of the of the 11 bit if you if you can call it uh an an event department. Uh I tried it to count how many trailers I produced. I lost count at 100 or something because there are many formats that duplicate the the idea.

Yeah. So, jumping into topic, today I'm going to talk about the basics a little bit. So, the trailer life cycles and the types of trailer during the marketing campaign and production process of the game. Then we're going to go through the main phase of the production for the gameplay trailer. So, the pre-production and production and I will share you with you some uh best practices we have at 11 bit studio which are which brought the the for example this one trailer alive and they're worth to share. So, let's talk about the life cycle of the trailer because game usually don't have a just one trailer. Sometimes it has, but it depends on your strategy and your goals you want to achieve. Uh but usually it gets many and most of them serves a different purpose at a different state of the game journey. Uh yeah, so let's begin with the announcement trailer. It's kind of obvious because you announce the game to the world like the name indicates. It's usually way ahead of the marketing campaign.

So, it's important it's very important to announce the game with a plan. So, not too soon. We've made that mistake a lot that we announced the game long before the main campaign started and then we went underwater and almost players almost forgot about our titles. So, don't that make that mistake. Remember to plan. I will be talking about the planning a lot because the planning is the backbone of the marketing and the development, of course. Uh so, the announcement trailer is usually CGI. So, its main purpose is basically world world building and setting the tone of the game. So, we won't be jumping into it today. Uh but we'll be talking about the gameplay because this is the most anticipated video asset that that the players are waiting for. This is the like a real deep first deep dive into the the gameplay. So, this is the moment where the players can meet the core systems of the game, some part of the game loop for the first time. So, this is the most

anticipated and like a more more most hot topic at at the main marketing campaign. Usually then you have the release date reveal, which is always interesting topic because it's not not always or or the it's changing quite a lot of times because it's almost never a final date, but it's more like a first attempt to mark the release window of your titles in the players' minds, basically. It of course is depending because the the launches get pushed and iterations happened like this is how the the game dev industry works is always iterating, but it's revealing the strong signal to the community that the game is real and we are moving closer to to release. But it's rarely the final date like really final date. But remember that it's anchoring the date into the minds of of your communities and on the players. And then you usually have the launch trailer, which is a big hype moment for for the just before the release. And

this is the moment any when you shout out to your to your community and to the players that the game is out, so buy it and play it. Uh so, you want to convince the the the players that that you're here and this it is worth it to to check you out your game. Uh usually the the most important thing is that gameplay trailer like a launch trailer should be treated as a stand-alone asset because you can assume that most of the players saw saw your campaign, but most of them really didn't. They they maybe they saw one or two particular assets. But if you assume that they didn't, you will create the launch trailer like a game in the nutshell. So you will put all the campaign in one asset and you will assume that okay, this is the only time the someone going to see it. So I will like make it game in the nutshell trailer in a nutshell. So this is the most important

maybe not the most important but one of the most important moments for the game. So there is And of course after that you have some post launch and wide possibilities when the gameplay gameplay is your basic tools for communication because all the when the game is out all the system are working and you can practically practically show everything because it's going to be on the YouTube next day probably. Shared by some influencers or the gaming gaming communities. So this this serves like different purpose because you can use it as a knock lights Thank you for the dev some dev commentary about the mechanics or the gaming club and many other formats. Yeah and I tried to gather some examples of what we did for the Frostpunk. Of course there are like maybe 20 here but there are a lot of lot of more of them. So this is not like closed catalog.

When you when you want to promote your game after the release you have to constantly work on on communication for the for for your game. Of course for example the dev hold is much smaller one. It only basically seven eight because I've missed the launch trailer here. Yeah and that's the end of the basic basics actually. So let's jump forward into the pre-production phase so like a main phase of creating actually all of marketing assets because it's only about the trailers, but you can stick with every marketing assets you're working on with this plan and with these steps basically because it's important to keep consistent on your marketing campaign. So, starting always with the core message. So, basically, it's an answer on what do you want to say to your players because every trailer, every asset should have one or two strong ideas behind it. You can try to fit

everything about your game in one asset, but we did it that mistake once, so don't go that way. I will tell you about it in a in a few slides. We already tried it. Don't do it. It's a disaster. So, summarizing this, one or two core messages, so it's a key takeout for your marketing asset. And for example, we divided marketing plan for the Frostpunk into the six bits. Of course, those bits can change during the campaign because we iterate, we change, we we are answering the communities needs. We cooperate with development teams, so the plan is like constantly living. But, we assume that for example, the bit three is going to be about the scale of the game and the turmoil which can lead us into the downfall. And basically, the bit number three was the gameplay trailer you saw on the beginning of my presentation. So, I think I think we did a good

bit four, for example, was about the House of Delegates, so the basically Parliament in the in the New London, the social tree, and the the research. And the last last one was we assumed that it's going to be about the scale of the game, so colonies and about more about the factions. As I was saying before, you want player to remember you're communicating in the end, so don't say too much because we did it once Uh uh and if you try to do that you will overload the your audience with the two many messages. Before we release the the gameplay trailer you saw in the beginning, we spent it like 8 months or something or maybe even more on trying to fit a lot of communicates in one one single asset and we tried to show that the city is like much larger than the Frostpunk one so you don't deal with the with the buildings you build you deal with the districts and then we wanted to show that the city has some problems and

there are factions and those factions will help you with solution for for this problem and for example the hunger and then will they will be voting on something and there is some kind of parliament and then the city tend to threat. It was completely unreadable. There were too many communicates and even if our own company when we were doing the corridor check of of the trailer, people were saying like I don't know what what's this about even though I know the game. So, we learned that's why you don't do it. Pick up two or one core messages and stick to them. And the other is kind of obvious. It's plan your campaign way ahead. Don't wait for for 3 weeks if you need something in 2 weeks. Tell it tomorrow to your partners, to your development teams because you can check if the if your plan is adjusted to what the production making. For example, when I was doing the slides basing on our last year plan what this kind of my production plan, I was checking in

July what I'm going to be doing and I knew that what was the plan for November and December. So, I was way ahead with the plan even though it's not like super detailed but I could take this and try to align it with the our producers at develop development team for the Frostpunk 2 because then we could compare our plans and align them uh uh even more. So, the assets that we're going to be working on, for example, in 3 months will be ready would be ready for the marketing campaign. And if they were not, we should change the plans or they will change the plans. Uh and after that, if you can see here, this is the pipeline for the Frostpunk 2 production. I think it was about the DLCs. The marketing is a part of the development pipeline. So, we are in constant contact with our producers from It's a floor below, basically, because we are on fifth floor, they're on fourth floor. So, we know what they are doing

when we plan particular assets for the marketing campaign. So, so we can align our plans and work on the same features that we want to talk about on during our campaign. So, when you when when you have the plan, we can start working on the trailer, actually, because before that it's like riding a water ski. It means nothing because you don't know what's planned in the in development. So, how you do it? You create a basically storyboard or the shot list. So, you take the USPs of the game and what you want to show in the audience, and you look for the scenes matching basically your USPs in the game. And if you if you had that, you will probably have a storyboard. This is the storyboard for the launch trailer of the Frostpunk 2. As you can see, we divided the whole trailer in three few acts. We wrote down the USP, the voiceover, the tone of voice, the pacing. So, it is a basically no-brainer for the video editor, and it works like instruction how and what we

want to communicate in this particular asset. And if you have that, we go further. Yeah, because it's a long process. And this is more of the project managing thing. So, the next step is to define the stakeholders and close the iteration loop. Why to define the stakeholders, basically? Because you can think that hey, it's a marketing thing, but it is not. You have the game dev, you have the business development. So, there are a few group interested in your basically marketing assets, not like directly working on them, but cooperating you, and you have to keep them in mind. So, it's defining the uh stakeholder means that you don't consult the whole group of 50, 60, or 80 people. I've been there. Don't do that. Sometimes it helps. I will talk in the in the end of my presentation about that, that sometimes it help at some point. But basically, when you are working with your with teams, you should choose one person responsible for taking decision. And then, he will be the filter of

everything that comes out for from those groups around you. So, they will wage their decision, they will wage their feedback. Is it Is it really important to implement that, or is it not? Of course, in the end, you have the final decision maker to stakeholders who who decide if if those feedback groups feedback really really should be implemented into the gameplay trailer. And about the closing the iteration, it's about the working on plan. Because usually, when you you create this my production plan for a launch trailer, you plan some pre-production phase, of course, the script, the voice over recording, the the screen captures screen capture session, and the submission for your partners, reformats, etc., etc. But there is a place when you you when you have got together the feedback from from the decision makers. And if you know who's the stakeholder, you should show them the plan, and tell

them that they can interact here, but not over there. Because there, you have the reformats, you have all the things you have to do post post like post-production uh, for your assets. So, uh, this is very important, actually, because there will be if you show them that at the beginning of the process, they won't be surprised that, they cannot iterate more, they cannot, uh, put any more changes. So, you keep the project like in line and you you hold it close. Uh, I learned that hard way, of course, because this is the only way to, uh, learn something, really. Uh, because our game director, uh, Lukasz Juszczyk, from the from the Frostpunk 2 team, uh, he said once to me that, uh, he can iterate forever endlessly. Yeah, it's it's a it's a process that, uh, often happens in the game dev. Uh, so, he can spend like all over every every day he can iterate, uh, because something change in the in the build or or the game is evolving, etc. Uh, so, if I will I would tell him that we are

working working working and then, uh, I would tell that, "Okay, you cannot do that anymore." He would be surprised why? Because he he didn't know what was the process. And if you if you if you go there with with your plan that, "Okay, Lukasz, we have to finish, uh, the feedback session by the whatever date it there is." Uh, then he can plan his own work. He can, uh, check what features going to be ready, uh, which the which feedback is really matter for for this asset because he knows that what we want to communicate. That's This is how it's, uh, work because it's work with the plan. Uh, yeah, so, uh, summarizing the the pre-production, so, if you define the message, you uh, plan and you have achievable plans and then you execute your plan, you will probably, and I'm sure of that, uh, that you going to succeed in the in the pre-production phase of the of the project. Uh, and that brings us into the third part. So, like the main, uh, production. So, when you sit down to

the table and start editing. And for that, you basically need some tools. And usually, those tools are marketing builds for the game. And what do you need for to record successful gameplay trailer? Uh this is important as hell because not everyone has knows that there is some there is something like that something like marketing build. Usually you have the QA builds, daily builds, but they are changing constantly. So uh talk to your development teams, to your producers, or if you're a producer or developer over here, uh know that marketing build for trailer is a most important and basic tool for creating successful gameplay trailers. And how should they look? Yeah, they it should be marketing branch, like I told told before. Uh not a QA branch, not a separate branch uh because Now, why? Uh because we need a separate environment which is stable uh and created specifically for

marketing capture phase of the of the trailer. Uh it have to be predictable uh and do not crash like every day or every second or when we play because that's really how uh QA and daily branches works. So uh they should stay will be stable for a longer period, not receive daily updates, and contain some uh things I'm going to tell you in in next few slides. Because in the end the goal isn't have to newest version of the game when you're recording. This is not the most important thing. You have to have a version that is reliable and uh the version on you can actually finish the trailer. So the first thing uh like I said it have to be stay stable branch. I think this is the most under underrated production tool in the trailer creation because the uh breakdown branch is a is a part of the development job and it's always like happening often I would say. Uh but when you when you're capturing gameplay and the build crashes every time you waste your

energy and the momentum for for for bringing trailer to life. So, we can spend like 20 minutes setting up the perfect shots and then lose everything in a second because trailer suddenly for no reason explodes. That's why we in marketing prefers fewer new features, fewer risky updates with which happens every day on the other branch. So, this branch is like dedicated for us because that means significantly fewer crashes during during our job. Because then we could pre- predict the behavior of the branch and the behavior of the game and repeat the capture conditions during gameplay capture sessions and in the end less time spent fighting the build instead of making real trailer. So, summarizing this the in production trailer basically stability is more often valuable than cutting-edge content and new features that we probably don't need because we found it the other way.

And the another huge quality of life improvement for tail trailer production is working saves, of course. So, because the starting beginning every single time from capture one combat Sorry, encounter animation is like paying this if you do it constantly because you have constant recapture and another recapture. So, less less loading loading screens or crashes, sorry, crashes. So, you can place camera or or the moment directly before the important moment or you can change your gameplay with some prepared resources or units. Oh, this was crashed, actually. Allows you to instant replay the gameplay sequences. So, it's really saves hours of production time. Because when you're recording, so you take a multiple takes with different camera angles or you're

iterating the timing or the pacing of the scenes. Uh, so if the saves are not working, you have to do it like manually every time. So it just saves you shitload of production time. Uh, small things make sometimes the huge difference. So in marketing build, don't place the development watermark directly into build because we need the clean footage first and all the disclaimers can be added later in the post-production. It's small thing, but it brings like more this cinematic feeling of the video asset. Uh, and this is one of the most important thing I I get I'm I'm guessing the cinematic camera because gameplay trailer is not a raw gameplay footage. It needs to be cinematic with a spacing and visual story building of the game. As you can see, Frostpunk is a top down usually,

but if you if you have the cinematic camera or free cam, you can show it in completely different angle because that allows us to create more dynamic dynamic shots, control control framing, control the camera movement, highlight the scale of the game, atmosphere, or some emotions behind the scenes. And present the gameplay in more cinematic way, not just the gameplay it is because sometimes the difference between the this looks like a gameplay or this looks like a trailer is just a camera work in the end. And of course, we want to stay as much honest as we can to the gameplay experience because this is all about the trailers and how the trailers also bring the experience and feeling of the game, but still in the end this is a trailer, so we need a little of the Hollywood movie magic. Uh

Yeah, Freak Show that was Okay, let's go to another one. This is This is the very important feature to to earn some time and get some time and not waste it on grinding the the process. So, because the trailer production is not a normal play play through, right? You don't want to spend hours gathering resources or grinding the progression or search for one missing quest item just to record the 10 seconds gameplay sequence. That's why the item and spawn resources are incredible incredibly valuable tools for marketing. As you can see in the Frostpunk, I will repeat that video, we have a wonderful console made by devs and co-produced by us, so we can we can like manage the whole city from one one one place basically, so which is console, and you can you can change everything in it. So, population, resources,

turmoil, number of people infections, you can rig the votes, which I will tell you in on the next slide probably. So, this is this is the tool that makes us spend less time on fighting the progression of the game and spend time on making better trailer in the end. Uh Okay, God mode would be would be next probably. Next one, this is the one of the most useful capture tools is to instantly spawn or respawn enemies. Of course, it's not in every game like for it's Frostpunk, it's it's irrelevant to to Frostpunk at all because there are no enemies. But, if you have that in trailer, that means you can encounter combat multiple times, use different camera angles with a different pacing without replaying

sections of the game if the save game's not working or avoid loading screens constantly. As you can see, the we have that in the dev whole title. So, we would want key be that to to to to keyboard. He you got respond whole section of the enemy. So, you can enter the combat again and again and again again again without loading the game. So, that make Uh, this is the easiest way to recreate the gameplay moments and make the trailer better polish because you can focus on more more efficient gameplay captures sessions. Uh, Okay, now the good mode I have talked about. Mm. This is because sometimes the most powerful trailer production tool is simply not die every 30 seconds. I will tell you tell you how that did it work in in in Frostbite actually. But let's let's go with the good mode. Because this helps a lot

with avoiding constantly reloads of the game or recapture loading screens and failed takes caused by your some random gameplay gameplay mistakes. Because during the capture we often need to repeat sequence like I told you before many many times, experiment with the camera movement, slow down pacing, or do cinematic shots. And without the good mode or the good day, production would turn very quickly into the die, reload, retry, repeat, die, and etc. etc. But the goal is not to make fake gameplay, right? Because it's not faking. It just removes the unnecessary friction from the capture process and focus on making the footage looks best. And funny story, what is the Frostpunk example? Because we had this wonderful console for for managing the city. We could add like shipful of the resources, change turmoil, add people, and whatever you want. But we didn't have a god mode. And the

Frostpunk is hell of a game and it's a very difficult. And during the production process, our video editors were often kicked off as a steward of the city by the citizens, even though the city was like really well, but of course we we had to we had to prepare something with the high turmoil. But you can be cast off of the city. So there is vote vote of trust. So we had to add the the god mode, so rig the vote votes. Yeah. So they won't kick you out of the city. So that's a completely different feature besides all the resources managing and people managing things or or research things. Mhm. And the other because sometimes UI and HUD is essential for of course understanding the gameplay, but sometimes it completely kills the shot. Then the ability to toggle off HUD is such an important tool because it allows us to create a lot more cleaner

cinematic shots and focus attention on atmosphere and animation. And of course add a little of this trailer magic to the footage. Usually the best solution is flexibility. So like in the example of the trailer you saw in the beginning, that there are if if if you analyze it a bit, there are two types of scenes. There are those without UI or HUD and those without. And we are using HUD if you want to show the clarity and the mechanics of the game. But if you want to show some emotions, the scale, the cinematic moments and the this feeling what what the what the Frostpunk at this example is. We are we we turned the HUD off because you you want to immerse into the footage and feel that this is this is a Frostpunk not not entirely the game game actually, but the Frostpunk look and feel. So, more of a world world building and feeling of the of the of the gameplay. Of course, the gameplay should still

feel like a gameplay just presented in the most best possible form in the end. So, using both of the footage without the UI and with is it's just just a tool of the communication. The other one which goes to more open world games or large strategy game like Frostpunk itself or titles with long progression loops is time-consuming navigating the game. So, replaying the large sections of the gameplay, walking across the huge maps, or progressing through the quests that that things that things slows down production production really really dramatically. So, level switching and fast travel allows us to jump instantly between locations, access specific moments of the game for example different act one and three for example in Frostpunk.

We we had a tool to switch between the acts of the game. And then you can prepare shots much faster. So, like I said, the less time spending the navigating the game, the more time we can spend actually capturing what we need. And sometimes it's not all about some features, but some smart work out. I will give you one example we had for for the dev hall Uh, because we at one point we wanted to showcase a specific combo of three cars. And the problem the game system with the game system was that it would required it requires basically a full 12 card deck while only five of them were randomly drawn each round of the combat if you if you know the game. And the desired combo was really unreliable and it was random and difficult to capture like constantly and repeatedly. Uh, so instead of rebuilding

the entire system, we simply created like a production shortcut and we temporarily reduced the minimum deck size of the card you going to you needed in the deck. So it wasn't 12 anymore, it was five. And it was randomly five got from five. So every time we got the the combo we needed for for the gameplay capture. So that allows us to trigger that constantly, immediately and speed up the capture like really really faster. So marketing build summarizing it should be a stable build of course with no watermarks with a like a must have free cam that's cinematic camera and item and resource spawner so you won't have to fight the progress. If you have some enemies and you have some combat the enemies spawn and respawn makes your life a lot easier. Of course the gold mode not to die every every second. Had all had off if you want to create more cinematic view and level switch for

large open world games. And that brings us to last part. So how do we make a killer trailer without killing each other in process at 11 bit studio? So I will tell you how does it work and how do we do it? Of course the fine thing is like I said in the in the beginning of my presentation to set a goal and then identify the main takeaway of your asset. And when you have that you can go with the plan. And when you have the plan, align it with your uh game pipe game production pipeline, actually. So, you will be at the same page while working on features. Then, choose stakeholders and close the iteration loop, so they won't be surprised what they're working on and when it when the work ends. Prepare your tools. So, basically, prepare your builds or let the producers know that you're going to need marketing builds with specific detailed features. And then, share your edits. This is the new one. I told you that

not at the beginning that I will share some things because usually you don't want to share or this this is how it works. You don't want to share like unfinished product with the for example for the dev team. Usually, you don't you don't want to do that. But in some cases and at some point, you should be sharing edits with with with your colleagues because even if 20 people see the same video for 100 time, they could miss some detail. And for example, this was I think the trailer for the DLC one or one of the post launch assets for the for the Frostpunk 2. We were so happy. We we finished the asset. We had like one more week to work on it, but it was for 34 months or or some other things. And we were happy that okay, we finished. And we are we shared it on Slack on for with the whole FP2 team. And one of the developers said, "But there's something wrong with this footage. Just look at it." I was like, "What? It's perfect." "No, it's not. The

buildings are missing. There's only lights. So, there were no textures." Okay. Yeah, we got that. 20 people seen that before and no one noticed including the game director. But we still had time to to improve that and recapture the the footage. So, at some point it's worth to share video edits before they are finished with the with the development teams because they can see much more than we do even if they are the game directors. Uh And in the end try to acknowledge the teamwork because trailer isn't made by the one person actually never. Recognize the input from the the whole team from the from the development team to video editors to copywriters to creative guys to project managers audio master sound mastering etc. Uh this is this is the photo I took when [snorts] we were publishing the uh first gameplay trailer for Frostpunk for for the Frostpunk. We gathered actually

not maybe not whole team because not everyone were at the office at the time and we watched it together and that's that made people feel some kind of ownership and from that moment from my feeling I saw that the collaboration between me and my team and the development teams went much smoother. Yeah, they were they they were the part of the team and the trailer was the part part of the of the production because if you acknowledge the input of everyone involved in the production because they are the part of the trailer project in the same way the video asset or the trailer is the part of the whole production because like I said in the end the trailer is just not an ad. It's a part of the game. Thank you for listening to my presentation. I hope you enjoyed it as much as I enjoyed presenting to you. And I've been talking for almost an hour. I guess it's too much. So now the floor is yours. So if you have any questions I'll try to answer them.
Thank you so much.

[applause]
Thank you so much Jacek. Yes, I see some hands already here.
Thank you very much for the presentation. I wanted to ask about uh as you presented those different types of assets of trailer assets do you prepare the trailers? Do you have any tips or pretty much like approximation on how long each of these you know you're aiming at you know in in terms of the run time the scale you know things like that?
You mean you mean the how long the particular asset should take strike?
Yeah yeah yeah how long should the run time be like I don't know two minutes or something like that you know like do you have some sort of guidelines based on your experience?
I don't think there is a like a real guideline you you can try to measure the focus time on the asset even

using the YouTube tools but I think you should take into consideration two things one thing if you are on the external event for example the opening night life or the triple A you have to fit in the time given by the event organizers I think it's you have only one minute so you have to fit it in one minute. But on the other side uh you should you can try to okay enough from the other side it depend on you basically because it depend on what you want to communicate and if you want to communicate too much like I actually said at one point then you have you will have too long too long trailer because the first trailer we produced and it was trashed it it was like three minutes long nobody wanted to watch it so it depend on what you want to say to the community and you don't want to say too much you probably you want to of course it depends it always depends on decisions you make and the plan you have for the campaign and

how many assets you want to produce and publish during during the marketing campaign so so this is your decision in the end it's it's not like one guideline of course I would recommend not go more than 90 seconds because then there is attention drop like significantly and people won't be watching the end of it. And this this is I think this is the one of the indicators. But in the end, it depends on what you want to say and how you are saying it. Because it it can be 30 seconds in maybe or maybe maybe 45. It's it's completely fine.
Sure. Thank you very much.
Thank you. Any more questions?
Thank you for the talk. Um I would like to ask you, do you also do CGI trailers at your studio?
Uh not at our studio. Usually it's made by our external partners. We we do

uh 2D trailers basing on game assets and game engine. Uh but yeah, of of course we we are using the CGI trailers as part of the marketing campaign. If you if you would look I I want to I'm I'm not able to change it now. For example, the Frostpunk 2 had two CGI trailers. But it were made by the external company, right? We are we are we are making games and we are making marketing campaigns as a as a marketing department. Uh but the CGI is a whole different kind of area.