Every series, film and game has more than one audience. We cut a trailer for each of them, made for the screen they're watching: the TV, the phone, the feed. A practice refined inside Netflix, now for your titles.
Editor-led cuts, sped up by AI
Cuts for the homepage, the phone and the feed
Led by the former VP of Netflix's Product Creative Studio
The trailer used to play in a cinema, on TV or on YouTube. Today it also plays on streaming homepages, title pages, app stores and vertical feeds, often seconds before someone decides what to watch or play next.
Netflix added video previews to its TV homepage in 2016 and vertical, personalized previews on mobile in 2018. In 2026 it launched Clips, a vertical feed of highlights. Its trailers now get more impressions inside the app than anywhere else. Source: Netflix, 2018
The same title can win very different people. Netflix shows each member different artwork for the same title, matched to what they like to watch. The same idea works for trailers. Source: Netflix Tech Blog, 2017
Every title has more than one audience.
A series can be a crime story, a family drama and a period piece at once. Each of those is a different reason to watch, and a different trailer.
Trailers are evidence.
Netflix calls artwork and trailers "evidence": the proof each member needs to press play. Different people need different proof. Source: Netflix Tech Blog, 2022
Cut for the screen it plays on.
Netflix found that art made for billboards and DVD covers did poorly in its app. A trailer works the same way: the TV homepage, a phone and a social feed each need their own cut. Source: Netflix Tech Blog, 2016
Test, then scale what wins.
Netflix A/B tests its artwork and trailers and keeps the pieces that work for each audience. Many versions make that possible. One version can't be tested against anything. Source: Netflix Tech Blog, 2022
Why one trailer isn't enough:
You have seconds to win the play.
People decide fast, and they decide on what they see. A single trailer has to average everyone out. A set of trailers gives each audience its own reason to watch: the trailer becomes the targeting.
A trailer cropped for a phone gets scrolled past. Social cuts need their own edit: vertical, hooked in the first seconds, readable with the sound off and short enough to finish.
Netflix's co-CEO Ted Sarandos has said its trailers and clips get heavy viewing on YouTube, and that it brings people back to Netflix. Source: Netflix Q3 2024 earnings interview
TV homepage
Previews that play when a title is in focus. Netflix calls them custom video synopses: story, characters and tone, in seconds.
Mobile
Vertical previews, personalized to each member, and now Clips, a vertical feed of highlights members can share. Source: Netflix, 2026
Title page
The trailer a viewer chooses to watch, when they're already curious and need one more reason.
Social
Vertical cuts for Reels, TikTok and Shorts, built to stop the scroll and bring people back to the title.
What we make:
Audience trailers
Teasers
In-app previews
Character spots
9:16 social cuts
6s and 15s bumpers
Moment clips
Localized versions
Our work:
Award-winning trailers, made inside Netflix.
Trailers, teasers and key art from Netflix's Product Creative Studio, the global in-house team Rapha led, at the 2023 Clio Entertainment Awards.
16Clio Entertainment awards in 2023, the studio's highest total, up from 13 the year before.
Trailers for streamers, studios and game publishers.
Series
Launches, returning seasons and the catalog. A trailer for each audience the show can win, and a new set for each season.
Films
Theatrical and streaming releases. Teasers, trailers and audience versions that carry the campaign from the first look to the premiere and beyond.
Games
Launch, gameplay and season trailers, cut for the kind of player each one is meant for, and short cuts for every social feed.
The team:
From the person who ran it inside Netflix.
Rapha Vasconcellos
Co-Founder & Creative Leader, Gravta
Rapha led Netflix's Product Creative Studio as VP: the global in-house team that made the trailers, previews and promotional assets members see inside Netflix, for global franchises and local hits alike. He grew the team, started its AI practice and led it to its biggest year at the Clio Entertainment Awards.
Before Netflix, he spent eight years at Meta building Creative Shop, the team that helped the world's biggest brands make ads for Facebook and Instagram, and became its global VP in New York. His work has been recognized at Cannes Lions, the Clios, The One Show and the Effies.
Why make more than one trailer for the same title?
Because every title has more than one audience. The same series can be a thriller to one viewer, a love story to another and a cast they already follow to a third. One trailer has to pick one of those. A set of trailers can speak to all of them, so each audience sees the reason it would watch.
Does Netflix really work this way?
Netflix has written publicly that it treats trailers and artwork as "evidence" for each title, tests them, and matches the right piece to each member. It shows different artwork for the same title to people with different tastes. Rapha led the in-house studio that made trailers for the Netflix product, so this is the practice we bring.
What's the difference between a trailer and a social cut?
A trailer is built to sell the title in a few minutes, usually on a big screen. A social cut is built for the feed: vertical, hooked in the first seconds, readable with the sound off and short enough to finish. We make both from the same footage, so they tell one story across every screen.
Do you work on games?
Yes. Launch trailers, gameplay trailers, update and season trailers, and short cuts for social, each aimed at a different kind of player.
Do you replace our trailer house or agency?
No. We often work alongside them, adding audience versions and social cuts around the main campaign, or taking on the in-app and always-on work they don't have room for.
Can you work with footage we already have?
Yes. Most projects start from the cut, the dailies or the game capture you already have. We find the moments that speak to each audience and build from there.
How do you use AI?
To find the right shots faster, to make versions and to localize, so editors spend their time on the craft. Every trailer is cut and finished by people.
Who owns the trailers?
You do.
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