- Features
- Trailers Management
The Thirty Seconds That Sell the Two Hours
Every title can carry its own trailer, uploaded in whatever format you were sent or reused from something already in your library. The newest one becomes the published trailer, so updating a campaign is one upload rather than a support ticket.
Nobody Reads the Synopsis
A viewer scrolling a catalogue gives each title about a second, and in that second a poster does most of the work and a synopsis does almost none. What actually converts browsing into watching is a trailer, because it answers in fifteen seconds a question that three paragraphs of description cannot. This is well understood by everybody who commissions content and routinely forgotten by the people wiring up a platform, which is how you end up with a beautiful catalogue where half the titles have nothing to show. Vodlix treats the trailer as part of the title rather than as an afterthought, attached in the same place as the media, the artwork and the pricing, so adding one is a step in publishing rather than a separate project.
MP4, MOV, AVI, MKV and WebM are all accepted, which matters because a distributor sends you what they have rather than what your platform prefers. No converting anything first.
Add a trailer and it becomes the published one automatically. Swapping a teaser for a full trailer when a campaign moves on is an upload, not a configuration change somebody has to remember.
A trailer already in your library can be attached to another title rather than uploaded twice, which is how a franchise or a season shares one piece of promotional footage.
Drop the File and Move On
Uploading is a drop zone and a file picker, which is all it should ever have been. The supported formats are listed on the screen rather than discovered by failure, so you know before you start whether the file a distributor sent will work. From there the trailer is transcoded the same way your main media is, which means it arrives at the viewer in the right size for whatever they are watching on rather than as a large file that stalls on a phone. That part is covered under video uploading and transcoding, and it applies to trailers for the same reason it applies to features. A trailer that buffers is worse than no trailer, because you have taken somebody's attention and then wasted it.
Published Separately From the Title
A trailer has its own published state, which sounds like a small detail and is the thing that makes launches possible. It means a trailer can be live while the film behind it is still a draft, which is exactly what you want in the weeks before a premiere. People can watch the trailer, add the title to their list, and be waiting when it drops. Each trailer carries its own duration and identifier, and old ones stay attached rather than being destroyed when you add a new one, so going back to a previous cut is a choice rather than another upload. The scheduling that makes the rest of it work is described under countdown and premiere, and the title itself is managed through movies management or series management.
Where the Trailer Actually Appears
A trailer is only worth uploading if viewers meet it. On the web it is a button on the title alongside Play, so somebody undecided has an option that is not a commitment. On television the same choice sits in the title menu where a remote can reach it. It plays in your own video player rather than in something bolted on, which means your branding, your controls and your quality settings all apply to it. Because the trailer is attached to the title rather than to a page, it travels wherever the title appears, including rows you have curated through content lists and anywhere a viewer arrives from search. One upload, every surface.
Frequently Asked Questions
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