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L8wrtr

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2-Jun-2010
Last activity
18-May-2017
Posts
105

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Post
#1058709
Topic
Disney's The Black Hole (Complete Score Project) - Any Interest?
Time

This arrived in the mail, and it is STUNNING.

The backstory on this is awesome. TBH was the first film score to be recorded digitally on what was state-of-the art 3M recording equipment. Those master recordings eventually became trapped in their media due to the technology becoming antiquated. In preparation for the 30 year anniversary, this one Disney guy sought to release the full score, and to do so in a process that preserved the digital aspect with a full CD release. Unfortunately that proved far more troublesome than anticipated. Long story short is that project is why there was an iTunes version of the original soundtrack LP that became available; they could transfer the files to analog and then re-digitize but that wasn’t what he wanted, he wanted the entire workflow to remain digital. So as a stop-gap they bounced the tracks that replicated the '79 vinyl release on iTunes and kept working the problem for the full score. Eventually he tracked down working equipment and engineers with the experience on how to access and transfer the songs. It was truly a labor of love that literally took years to accomplish, and it shows in both the audio results, and the accompanying booklet.

The CD comes with a thorough multi-page insert that chronicles the development of the film and the score, and then details the unique journey of the score, track-by-track in terms of style and motif, and closes with the journey of restoring the soundtrack.

If you are a fan of TBH, the score, John Barry or just cool musical scores in general, this is an absolute MUST HAVE for your collection. Hearing the full score that hasn’t been available is a pure joy for any fan of the film.

L8wrtr said:

So this is serious necroposting, but I stumbled across this post while I was searching on where/how to get my hands on the expanded soundtrack.

If you’re a fan of John Barry’s amazing score of this film and hadn’t heard, after the 10-track CD/itunes release of the original LP in 2007, they did a full soundtrack release in 2011. While it’s not available on iTunes, you can buy it through the link below. I’ve ordered mine and will update this post for anyone that still has this thread tagged and might be interested in it.

http://store.intrada.com/s.nl/it.A/id.7229/.f

While I’m known around these parts for my love of Star Wars, TBH is by far one of my most fondly remembered and enjoyed films. It’s not perfect, but it’s still amazing, particularly if you know it’s real history, including the amazing work that it represents from a special effects standpoint.

Anyhow, I’ll update once I get it and let anyone interested in on whether it’s worth the price, but I suspect it will be!

L8

Post
#1057551
Topic
Disney's The Black Hole (Complete Score Project) - Any Interest?
Time

So this is serious necroposting, but I stumbled across this post while I was searching on where/how to get my hands on the expanded soundtrack.

If you’re a fan of John Barry’s amazing score of this film and hadn’t heard, after the 10-track CD/itunes release of the original LP in 2007, they did a full soundtrack release in 2011. While it’s not available on iTunes, you can buy it through the link below. I’ve ordered mine and will update this post for anyone that still has this thread tagged and might be interested in it.

http://store.intrada.com/s.nl/it.A/id.7229/.f

While I’m known around these parts for my love of Star Wars, TBH is by far one of my most fondly remembered and enjoyed films. It’s not perfect, but it’s still amazing, particularly if you know it’s real history, including the amazing work that it represents from a special effects standpoint.

Anyhow, I’ll update once I get it and let anyone interested in on whether it’s worth the price, but I suspect it will be!

L8

Post
#982575
Topic
info request: editing (blending, syncing, adding/subtracting) audio
Time

I know this is serious necroposting, but I am only just recently really getting my feet back into the editing community. I just wanted to note that the Audacity avenue seems to be the holy grail, or unicorn of audio editing. Many have tried, but rarely have any achieved any success. I believe Hebrides over at fanedit.org successfully replicated that process for one scene, and the results were simply astounding… but even with his detailed instructions I don’t know anyone that achieved success again, and even he noted that it only worked that one scene/time… using his same instructions he himself never replicated it again on other scenes (that I’m aware of, again, it’s been a while).

At the end of the day, most faneditors have to use the music within the scene and work around it, find interesting ‘hacks’ as you say to make it feel natural, and that’s the key, there are many tricks manipulating exactly when the tracks overlap and crossfade (moving them before or after the visual edit) that can help mask the edit, but fanediting is largely something you do with one hand tied behind your back.

njvc uses a combination of spectral layers (as spence noted) and sheir blunt force to achieve fairly impressive audio replacement. He uses spectral layers to remove as much music as possible, and then he tends to overpower whats left with strong audio replacement. Sometimes it works brilliantly, sometimes it’s just enough to make it acceptable, but you can still hear it if you listen.

I hope your project turned out, or is turning out well 😛

Post
#732791
Topic
SW EP 1: Shadow of the Sith by L8wrtr
Time

It is not DTS-HDMA, for a few reasons. One is similar to Hal, not all sources used were at that quality, but the larger reason for me was simply I was not able to find a workflow in FCP7 that was within my abilities and patience (FCP is limited in the audio formats that it can render in program, and with the thousands of audio cuts I made and testing and re-clipping etc..., there was simply no way I could have completed the project before throwing my computer out the window or getting fit for a straight jacket.

Regarding the two tracks, one is primary, the other is an alternate audio ending for the close of the movie, otherwise they are identical. If you downloaded the BD25 then the primary one is my preferred/favorite, but the alternate audio track is for purists who would rather the traditional 'crash' of the theme as the screen does an iris wipe to the credits.

Post
#707131
Topic
STAR WARS: EP V "REVISITED EDITION"**ADYWAN** - **Suggestions now closed**
Time

Holy Shnikies.. 

Breathtaking work Ady. Anytime I start to get frustrated with how long it takes, this clip will settle my pulse. The internets will probably burn out when you finally release this. 

Also, SERIOUS thank you to your family who have had to accommodate to the props you build and film. Though you set out to simply make versions of these movies that YOU wanted to see, you're writing yourself into the history of the Saga with this work. Thank you!  

*edit* I downloaded with Chrome on a Mac, worked fine.

This post has been edited.

Post
#656330
Topic
SW EP 1: Shadow of the Sith by L8wrtr
Time

Hello Jair,

The formal release details of all three can be found at Fanedit.org's IFDB, links for each edit:

Shadow of the Sith

The Republic Divided

Dawn of the Empire

All three edits are now available in HD (BD and AVCHD) and follow the same over-riding principles set down in my first edit in terms of tightening the pacing, micro-editing scenes to improve dialog/character impressions etc...

Episode Two is probably my favorite edit in terms of degree of improvement, turning something that is painful to watch and making it tolerable, and to some, even enjoyable!. The primary focus of it was two-fold: First, improve the relationships between the main players; making it believable that Anakin and Obi-Wan were friends rather than treating each other like a bunch of douchebags, and making Anakin someone that Padme could conceivably fall in love with. Second, since the crux of the film is a love story, I re-aligned the way the story is told and included deleted scenes to make it plausible they fall in love. Additional work was done removing R2 and 3PO from the droid factory entirely (no flying R2!) as well as fairly deep changes to clean up the sloppy and overly-long finale.

Episode Three however is my favorite overall edit. The primary focus of Dawn of the Empire was to above all make Anakin's fall to the Dark Side not only believable but make you feel sympathy for him, that perhaps given the events around him you could have made the same bad decisions. There are other improvements along the way in terms of pacing and eliminating annoyingly childish droid voices and the more cartoonish elements of the Palpatine an Yoda's fight.

 

Post
#645054
Topic
STAR WARS: EP V "REVISITED EDITION"**ADYWAN** - **Suggestions now closed**
Time

I'm confused.

1. Generally accepted argument on OT is that LFL can't get their own colors right on the subsequent releases of Star Wars, they cannot be trusted as original or real. 

2. The subsequent color re-timing is blue, unlike original, ergo, because it is blue, it proves that the bridge is the Executer.

Um.. I'm no rocket scientist, but this does not follow. How any print or DVD can be referenced as 'proof' makes no sense that the generally accepted opinion in OT circles is that those colors have been jacked with in every release.

Being that all film degrades over time unless stored under very specific conditions, which no publicly owned prints are likely to have been continuously stored under, trying to say we, the public, can know definitively the colors at time of release is simply a game of wanting to believe something, sort of like believing in God. We can believe strongly, but in the end there is no proof, only belief.

Absent any documented notes/story-boards/interviews etc.. which specify that the bridge/conning tower of the establishing shot is the Executor, you are concluding that this is the Executor's bridge based on the tenuous consistency of color (which we know are inconsistent at best). Even if we were to agree that the bridge looked sort of blue, no version we have seen is drastically blue outside the Pugo 16mm, which imo is likely the worst reference material as it is a 30 year old print not stored under ideal circumstances. Setting aside the Pugo, this blue is certainly not the drastic blue of the Executer (and new TIE's). You are using circumstantial evidence (color) to reach a conclusion which over-rules every instinct and established rule of film-making in terms of continuity and establishing shots. It flies in the face of all logical approaches to film making and particularly George's own approach to film making, which is quite traditional in terms of how he frames shots and establishes surroundings. 

In film, scenes build on scenes, particularly when you are introducing audiences to something new, this is how Lucas operates:

A New Hope

  1. Open with Text crawl over star field. Even without the text to tell us what's going on, the image establishes that this story starts in space.
  2. Pan down to desert planet with multiple moons. We now know we are not above Earth, we are somewhere else.
  3. Large space ship races overhead and away, shooting at some ship offscreen which is also shooting at it. We know somebody is being chased.
  4. Tip of perusing ship passes over us. It's big. It's really big. It's REALLY big. It's bigger than anything we've ever seen on screen before, and much more powerful than the first ship we saw.

 

With this sequence and no words, we the audience know a lot about the story. We're in space, not in our galaxy, one group is being chased by another, and the ones doing the chasing are incredibly more powerful than the one's being chased. 

The Star Destroyer is a visual introduction and explanation of just how powerful the Empire is. As an audience we've never seen anything this big before on screen (until we see the Death Star).

Fast-forward to ESB

We open with our now familiar Star Destroyers after the crawl, and we the audience feel pretty good about ourselves. We've returned to a familiar universe, familiar ships and familiar situation; Empire is still huge and powerful and the Rebels are hidiing/on the run.

But sequels are about more, about surprises and adding things, so the next time we see the Empire it's done to trick us.. 

Bridge of a Star Destroyer.. Ok, we recognize that, big deal. Then a full shot of the Star Destroyer, yeah we've seen that.. 

Then the shadow suddenly covers the biggest ship we've ever seen.. what the hell could do that? Oh Shit.. that Star Destroyer is HUGE (accompanied by the coolest, baddest music ever).

This is not only consistent with every rule about editing and film making we've ever seen, but it's consistent with how Lucas approaches movies. Everything always builds on what we've seen before. Lucas never goes for a bait and switch for this, it serves no purpose, neither narratively, stylistically or visually.

I dare you to find any example in film, let alone the Star Wars Saga where an Establishing shot introduces a small part of something which makes us think we know exactly what we're looking at, reinforced by a following shot of the thing WE THINK IT IS, and then cuts to the thing the first shot was supposed to be.

You won't find it. It doesn't exist, because that's now how you edit a scene. There is no reason to 'tease' the bridge of the Executor and then cut to a regular Star Destroyer. It serves no narrative purpose. 

 

Post
#645020
Topic
STAR WARS: EP V "REVISITED EDITION"**ADYWAN** - **Suggestions now closed**
Time

Likewise, I have never in my life thought that this establishing shot was anything other than a regular Star Destroyer, and specifically, the one seen in the following shot, which is because this is how every film handles establishing shots. It is in fact, the very purpose of an establishing shot; it grounds us in the new scene, giving us an anchoring point from which to get our bearings and understand the material we're about to receive. 

It would make no sense to show us an image with which we are intimately familiar with (the bridge of a standard Star Destroyer) yet intending it to be the bridge of an entirely different vesel, and then show us the vessel we expect it to be right afterwards, and only then, reveal the full ship. It makes no sense at all.

The only way that shot would be of the SSD's bridge is if the very next shot was... the SSD. 

 

 

Post
#643273
Topic
Extremely Silly Website: digital-fanedits.com (Was: Extremely Silly Article About Star Wars Prologue On DVD)
Time

My first thought when Thunderclap pointed this open invitation to me was that it was an IP fishing expedition, but that type of bait and switch would really only have made sense back before they went all Fight Club and closed down all outsiders from even being able to find the handle to the front door. Now that they've gone underground, I see little value to them in harvesting IP blocks 'of the enemy' unless it's a waaaaay over-the-top effort to be able to screen out any people who learn the secret handshake and get an invite into their Stone Cutter Society.

What this seems more likely to me is a means of getting attention. They do correctly assume that members of both OT and FE get a kick out of checking their site out so that their 'invitation' was certainly going to get noticed, and we know they do love attention.  As any parent knows, a child will do anything to get attention, even if they have to act out in order to get it.

Ultimately, this thread has already given AM what he wants:

  1. Attention
  2. Affirmation of his belief that he is persecuted
  3. Proof that OT and FE are full of nothing but A-holes who aren't worth his time and should continue to be banned from his site

 

Now I'm not defending his actions or history. Any reasonable person who reads through the infamous thread can clearly see a talented editor with an ambitious concept receiving literally nothing but supportive, constructive reviews, critiques, suggestions and above all, genuine interest regarding his project. Then out of the blue it turned into one of the most amazing and head-scratching melt-downs that I've ever seen on a forum. I came to the thread with no prior knowledge of the events and not knowing the history of DFE so read it with about an open a mind as you can get. It is in a word, inexplicable.

But honestly, this thread and the piling on that happens here only further reinforces the opinions of DFE about OT (and FE due to many common forum members).

Ultimately I echo Frink's sentiment that it would be wonderful for a DFE member to post here in an attempt at meaningful dialog, but we all know it would take less than five posts for someone to post something snarky, reinforcing their world-view and restoring their bunker mentality.

In the end, I think we have a greater chance of seeing peace between Israel and Palestine in our lifetimes than seeing this silliness end.

Post
#555933
Topic
STAR WARS: EP V "REVISITED EDITION"**ADYWAN** - **Suggestions now closed**
Time

I have to agree with Angel, regarding which is visually/subconsciously correct. Ultimately it comes down to Ady's intent with the edit, but considering that a general complaint of the SE is that the digital effects look fake, this seem a valid observation. 

The BD shot while visually uninteresting, it is photo-realistic, where the Revisited image strikes the subconscious as not right for film. As was noted earlier, regardless of how the human eye sees things, as life-long cinemaphiles, our brains all know what things should look like on film, and when they don't our brains register as being unreal. The cumulative effect of that is it takes us out of the action on the scene.

Post
#544409
Topic
Star Wars Prologue - Epic Prequel Edit
Time

 

I downloaded the DVD a few weeks ago. Haven't had a chance to watch it yet outside of scanning to see the Jar Jar removal, which as has been noted, is truly impressive.

But to this point about Frink having his head up his ass. I have only played the DVD on my computer which can be funny with subtitles, but playing through my computer there are absolutely no subtitles. Perhaps when I watch on my TV they'll pop-up.

Either way, just after the scanner completes its rotation there is a computer blip sound which a sci-fi fan would normally conclude is the sound of a computer completing it's analysis. Just after that computer blip there is a very soft computerized voice that almost whispers "kamino". The computerized effect is very heavy, and though well done, it is done in a way which really obscures the clarity of the word Kamino. If I had never heard the word Kamino before there is no way I'd have caught it, and even though I was looking for it I didn't realize I'd heard it until a few seconds afterwards and so had to scan back to double-check it. Ultimately, because it is so soft, and so digitized, it blends into the existing audio and is easily mistaken as just ambient computer sounds, a continuation of the scanning complete beep.

My guess is that the AVI that Frink watched probably really does have it, but he just didn't notice it because it is so exceedingly subtle. 

In the bigger picture of this being the piece that solves the puzzle, it just doesn't make sense for a few reasons.

First, within the scene itself, it plays out like this:

  • dart is placed in scanner, scanner rotates and completes scan.
  • As camera begins to pan across to the computer screen, there is a scan complete audio signal and then digital voice whispers it's line and then the droid begins speaking. The result of this combination, (assuming you hear Kamino):
  • "Kamino""markings cannot be identified. As you can see on your screen, probably self-made by a warrior, not associated with any known society."

 

If this is supposed to be a replacement way to tell the Prequels, assuming the viewer knows nothing, we hear some word which makes no sense (but later finds out is a planet), and then the droid tells us that it knows nothing about it. At this point we already have two huge problems, on one hand, if you've never seen the movie before, the word Kamino is delivered without context, not 'planet kamino' just kamino, immediately followed by the droid clearly stating it has no idea where the dart comes from, and that it's society is unknown. If you don't know what Kamino is, the take away from the scene is that the droid had nothing useful for Obi-Wan. On the other hand, if you do somehow hear the word kamino and comprehend that it's a planet, the droid then says it doesn't know anything about it. So which is it? Do you know where it is, or don't you? How can you know it's from Kamino, yet not know what society it comes from? If it is unique enough to be identified as originating on Kamino, you obviously know SOMETHING about Kamino and the society which made it.

So, let's assume that we have heard the word Kamino and understood that this was a planet, and ignored the conflicting information about not knowing anything about the society that made it. The next scene is Obi-Wan in the library looking for Kamino. He already appears to know where Kamino is supposed to be, yet it's not there. This presents us a number of jumbled issues. Why does he know the location of it? Without Mel.. er, Dex telling him it's near the Rishi maze, Obi-Wan shouldn't know where Kamino should be, unless it's a known system. Yet it can't be a known system because nobody has heard of it, which is reinforced by the fact that nobody is surprised that it's not in the database. Which leads to an even bigger problem, and why I'm not a fan of any edit which tries to use the analysis droid as the key to revealing 'Kamino' in combination with the library scene: how can the droid know about Kamino, yet the library have no record of it? Now if the scanner pulls it's data from the Jedi Archives, it should NOT be able to recognize that the dart is from 'Kamino' because as we learn, Kamino has been deleted from the archives. However, if the analysis droid and it's computers are accessing a different database of any kind that understands/recognizes Kamino, the fact it's missing from the Jedi Archive is an even bigger WTF because their own droids seem to know Kamino, which makes the Younglings scene even more pointless than it already is. If one database says "Kamino" and another has no entry for Kamino, OBVIOUSLY something has been deleted.

Obi-Wan looks like an even bigger idiot in this version than he does in the theatrical version because more than ever, it emphasis that the youngling scene should have been "Master Yoda, I've just discovered that a system has been erased from the Jedi Archive, we have a big problem" but instead we were given, "I'm looking for a planet that we know exists, but for some reason isn't on this here 3-D galaxy-Garmon that I checked out from the library. Did someone forget to download the latest interstellar map? What was that Liam? Oh... yes, I guess that makes more sense, someone deleted it.. got it. By the way, Master Yoda, did you get my application to be a Jedi Master? Because catch on pretty quick."

No matter how you slice it up, this sequence is a complete failure. The audio, while well-made, is difficult to recognize without knowing about it beforehand, but even if it is noticed, it contradicts everything that Anti-Matter left in, starting with the very line from the analysis droid that follows the declaration that this dart is from A KNOWN PLANET. From there it only spirals more and more out of control/sanity. It makes the already terrible flaws of the Obi-Sleuth-Kenobi sub-plot even worse.

All-in-all, this is the type of thing that would/should have been pointed out had this edit had the benefit of a strong preview audience/fanediting community.

Post
#543987
Topic
Star Wars Prologue - Epic Prequel Edit
Time

mrbenja0618 said:

TV's Frink said:

TV's Frink said:

2) There is no explanation of how Obi figures out to go to Kamino. None. He takes the dart to the analysis droids, they tell him pretty much nothing, and suddenly he's in the library trying to find Kamino (which of course he names without any previous reference to it).

From the edit detail page:

- "Kamino" (in Aurabesh type) is now seen flashing on the computer display during the Jedi temple analysis scene. We also hear a results tone before the reveal.

I see.  We are required to know how to read Aurabesh in order to follow a major plot point.  And the "results tone" is supposedly meant to clue us in.

This seems like something Lucas would have changed.

This is brilliant and something to implement into EVERY prequel edit from this day forward!

Agreed, I'm going to have to re-edit The Republic Divided to use this approach, as it is obviously far superior to my direct and clear solution of using ENGLISH to convey the information. Damnit!

Post
#539168
Topic
Extremely Silly Website: digital-fanedits.com (Was: Extremely Silly Article About Star Wars Prologue On DVD)
Time

TheBoost said:

Re-read that thread.

It's odd. Up until he decided to leave, anti-matter seemed like a pretty cool dude. Then all of a sudden he went all paranoid-rude-stinky.

I'd understand if he'd been in some kind of flame-war, or released his edit here and people didn't like it. But this whole thing just boggles my mind. I desperatly want to understand, but it's a vortex of madness and rudeness.

 

This is exactly how I felt. I wasn't here back then, so I had read through the whole thread once this popped up and I was truly flabbergasted at the sudden change. Nothing in the previous 88 posts is out of order in any way that I can see, at least not by anything I see in 'in-the-works' threads that go on over at FE, for the most part it was a highly supportive discussion, and then.. SNAP. 

Which only fuels my curiosity on the project..  

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