Sir Ridley

SilverWook said:

Note Luke still has a glove on his hand. And since we didn’t see the mechanical hand fall off when he disappeared, all bets are off. 😉

I’ve seen it pointed out that the glove has been taken from a The Last Jedi photo and pasted into the new photo. So we can’t be sure what type of hand he will actually have in the movie.

Hal 9000 said:

Ridley, that looks gorgeous! I can’t imagine anyone at Lucasfilm doing any better, 1997 or today. The characters’ faces and various surfaces each reflect the flicker at appropriate levels. The tunnel and its flicker are a good midway point between the newer movies and fitting in well with the 1977 aesthetic (or even a hypothetical GOOD 1997 SE aesthetic). The color looks good to me, just a little green to reach forward to the newer movies but not overwhelming.
If you feel like anything needs adjusting, I defer to your judgement, but I can’t fault it for anything. I’m very pleased with it.

Good to hear! I’ll make some adjustments and send the file when ready.

snooker said:

Wow! I love it!

When I was doing my version, I was playing around with the Battlefront model of the Falcon to see what you could see through the windows, and I think you shouldn’t be able to see the tunnel through Leia’s side. But I’m not entirely sure.

I’m glad you approve as well! I remember that you mentioned the view from Leia’s window before, so I took that into account. I actually looked at the Battlefront model as well (and used it for the exterior shot). I looked at the model from the inside at about the same angle as the shot of Leia, and the hull was visible but only covered part of the window (I guess it depends on the exact angle and focal length though), so that’s what I made it look like.

ChainsawAsh said:

Oh my god, that looks perfect!

Ridley, would you mind shooting me a PM of the lossless (or ProRes or whatever) output as well? Once you’re satisfied with it, of course.

Thank you! I’ll send you a link, no problem.

Here’s a look at the hyperspace FX!

https://vimeo.com/338024157
password: fanedit

It’s basically finished, but I might want to adjust a couple of tiny things. What do you think? Anything that looks off? Are the colors good?

StarkillerAG said:

Is it just me, or does it look like they’re fighting on the Falcon?

There are some similar features, but the overall structure doesn’t really match any specific section of the Falcon as far as I can tell. I think it’s more likely to be somewhere on the Death Star wreckage.

Hal 9000 said:

Also, you guys, what do you think about me reinstating Ben Quadrinaros? I’m leaning in that direction.

Yeah, it wouldn’t hurt. I think most of the podrace is worth keeping. And it’s nice to have one Ben in each trilogy, haha.

jarbear said:

For the above post, that reminds me of an idea regarding the “wrench.”

From the scene at the duration from 46 - 48 with the pod running, couldn’t putting an object on the ground below it be the wrench showing it fell through the vents onto the ground? That seems the simplest way to connect the dots.

Seems like the most straight forward way to deal with this is to edit the shot so the wrench doesn’t fall into the engine in the first place. Perhaps that’s something I could help with later, I’m still working on the hyperspace scene for IV at the moment (not much left).

Hal 9000 said:

I think that’s fair, Ridley. Since all three are getting a V6, if you wish to encode them I can include the crawls as .mov files. 😃

Sounds good!

Hal 9000 said:

Edit: Here’s the best I’ve gotten so far. (Audio is very temporary and not spruced up.) I’m not sure if this line is confusing, but the intention is that R2 and 3PO have been comparing notes of their various histories, not talking about a shared history. Might be too confusing. The last shot is a little packed, but removing the last phrase makes it too short. 😕

https://vimeo.com/337042860

I think the line feels a bit out of place. Reminiscing about the past doesn’t really add anything at that point in the story, and it does sound like he’s talking about a shared history. It might be easier said than done, but could you perhaps modify the original line instead? To something like:
“You know, space travel is rather perilous. I can assure you they will never get me onto one of those dreadful starships again."

DZ-330 said:

I’d love for SirRidley to make a version of the crawls with the actual titles if possible. Would be cool to have both versions for those who prefer the original titles.

I’ll consider it! Others have asked for that as well. I doubt Hal would make a separate edition of the films just to change a few words, but maybe he could have the crawls with original titles as separate downloads that could be edited into the films by those who want them.

Hal 9000 said:

What do you all think about this? Yea or Neigh?

https://vimeo.com/336657054
password: fanedit

The idea is good, but I think it needs to sound more muffled, like it’s coming from inside the body (try a low-pass filter). I think I heard somewhere that the sound of Vader choking someone was made by crushing walnuts inside an orange to get a moist cracking sound. Perhaps your sound is lacking the squishy “orange” part of it, as well.

Hal 9000 said:

Here’s a test of the idea for showing a closeup of Anakin looking over the slaughter in the Temple. Please take a careful listen to the audio if you can, and let me know what you think.

https://vimeo.com/335957079
password: fanedit

I think the music should build to and then “land” on the shot of his face, to musically tie the shot of the temple together with the shot of Anakin, rather than starting a new chord at the close up that continues to the next shot. I imagine a dark ending chord, perhaps with a short swell just before the cut to Padmé where the music stops and shifts to something else.

And perhaps the shot of Anakin could be reversed so that he tilts his head up rather than down. I think that might look better considering that the shot before pans up, and that body language might also feel more like a “reaction” after looking at something rather than starting to look at something.

Looks great, really feels like a model (in a good way) but more modern without looking out of place.

If I may give some feedback I would like to share some thoughts on the look of the engines. First of all I think the motion blur on the lights looks a bit odd. The rear edge of the light trails is very sharp which makes it look like tubes of light coming out of the engines (especially noticeable at around 24 seconds into your clip). I also wonder if it would be possible to make the lights look a bit more organic, like rocket engines with fire coming from deep inside. Perhaps with a subtle lens flare like the Star Destroyer has.

And the background needs a bit of motion blur as it pans down.

Here’s an interesting look at how the Tantive IV engines in Rogue One were created:
https://www.ilm.com/hatsrabbits/creating-the-blockade-runner-engine-look-for-rogue-one/

There’s a good look at the depth of the engines, could that be shown somehow?

And the organic feel of the engines here looks nice, but is obviously difficult to reproduce.

Anyway, great work on your edit so far, I look forward to seeing more.

Oh, about Tarkin, I wonder if the Tarkin double could be improved. I’ve always thought that the makeup looks weird. The best thing would be if Peter Cushing’s head/face could be inserted either with deepfake or by simply cutting out his head from a scene in a different film.

I saw these visual continuity fixes on DeviantArt. Personally I don’t think it’s a big deal, but I’ll just link them here in case it’s something you might be interested in changing.

https://www.deviantart.com/aggeiw/art/Vader-Prisoned-217140895

https://www.deviantart.com/aggeiw/art/Darth-vader-Errors-Birth-217140746

https://www.deviantart.com/aggeiw/art/Vader-Head-Fixed-217140961

A bit of progress. Considering the new thread title I’d better get this done. 😉

TiddySprinklesPimpBillion said:

Where are all the spoilers for this one? Not much of a care but there must be something. An accumulative spoiler post with bullet points or a spreadsheet?
No, I didn’t watch the trailer.

Here are your bullet points.
https://docs.google.com/document/d/10lJjIGMEIMORyD8CBXICmT6FVS3VAq1YHoovQiTSdxo/edit

There are some massive spoilers in there (if they’re true) so don’t read if you want to keep the story a surprise.

Not sure exactly where the line is drawn for PG, but here’s a list of everything that might be deemed even the slightest bit inappropriate:

https://www.imdb.com/title/tt2488496/parentalguide

Everything from “Snoke’s voice and perceived size may be frightening to younger viewers” to “A man uses a lightsaber to suddenly stab another man through the torso and holds the weapon’s blade in place for a couple of seconds as it scorches the man’s clothing and innards”…

I could try to make a LUT, if needed. If you provide a corresponding set of frames from the two versions (BD vs preferred color) from a variety of scenes I could try to find a grade that works on the whole film.

If it turns out that the color difference between the two versions is about the same from scene to scene I imagine that the result could be good. If not, there might need to be a set of different LUTs for different types of scenes.

One thing I’d like to try is to take the image sets and lay out the frames from each version in a grid that represents a version of the whole film, and then try to match the BD grid to the target grid. I imagine that could be helpful when trying to adjust the whole film at once.

The color grading/correction solution that I use does have a color match tool. The matching is not as advanced as Dre’s, but I think it could at least give me a decent starting point for further tweaking.

DrDre said:

nl0428 said:

Sir Ridley said:

This got me thinking. If Ben is redeemed, I think it would make sense if the saber went to him. Ben accepting and turning it on would be a powerful visual, showing his turn to the light and perhaps remind us of the scene where Luke gets the saber from Obi-Wan, with unknown adventures ahead. It would symbolize the hero and the Skywalker within him. “It belongs to me” would get a new meaning. The saber being broken but repaired would of course symbolize Ben himself, especially since it was repaired by Rey much like Ben might be. Rey handing the saber to Ben would be a callback to her handing it to Luke, and Ben accepting it would symbolize him giving Rey the belonging she was searching for in Luke. “It belongs to you”, she might say, tying their story arches together.

That would be pretty great and epic if you ask me.

I don’t think I would like that. If the ST has one core theme, I would say that lineage is not important. It’s the choices you make. Rey has thusfar made the right choices, whilst Ben made the wrong ones. Rey should be the one who builds a new future on that basis. For Ben to be redeemed, he should recognize this. It is not his birth right. He doesn’t deserve that lightsaber. She might offer it to him, but he should reject it imo.

Wouldn’t you say that the lightsaber represents lineage? If so, it would reinforce the unimportance of lineage if Rey gives away the lightsaber and forges her own path. We are made to believe that Rey is “worthy” because she gets the lightsaber, when the point should be that she is worthy even without it.

Ben on the other hand seems to care more about lineage. “Forget the past”, he says, and yet he talks to Vader’s helmet and claims ownership of the saber. If he received the saber it could be a key to understanding where he came from and perhaps it would give him a feeling of responsibility to uphold the legacy going forward.

This got me thinking. If Ben is redeemed, I think it would make sense if the saber went to him. Ben accepting and turning it on would be a powerful visual, showing his turn to the light and perhaps remind us of the scene where Luke gets the saber from Obi-Wan, with unknown adventures ahead. It would symbolize the hero and the Skywalker within him. “It belongs to me” would get a new meaning. The saber being broken but repaired would of course symbolize Ben himself, especially since it was repaired by Rey much like Ben might be. Rey handing the saber to Ben would be a callback to her handing it to Luke, and Ben accepting it would symbolize him giving Rey the belonging she was searching for in Luke. “It belongs to you”, she might say, tying their story arches together.

NeverarGreat said:

RogueLeader said:

ChainsawAsh said:

Yep, that’s lampshading. And it very much does not work in this instance IMO.

Haha, you’re totally right, forgot that’s what that meant!

I know the whole concept is to maintain suspension of disbelief by being meta about it, I just don’t feel like it fits within this story. Like, it can work in certain stories, but I don’t think lampshading is appropriate every time when it can be done, you know?

Lampshading works really well in Marvel movies, since there’s always a wink to the audience as to the silliness of the situation, but I feel like Star Wars is more earnest than that.

Are you planning to keep Han’s line? “How do we blow it up? There’s always a way to do that.” That could work as a more subtle nod to the previous Death Stars and the line might be funnier if they didn’t compare it to the Death Star already.

NeverarGreat said:

More work on removing the Death Star hologram from the planning scene:

https://vimeo.com/323037027

Password: fanedit

It’s not perfect, but if you’re not looking for the change I think it’s fairly seamless.

Nicely done. Do you think the lampshading of there being “another Death Star” isn’t needed?

That’s something to consider. The current color is based on the color of the original hyperspace effect which I feel gives it a retro look, but I could add a bit of green to the highlights to match the new movies.

Glad you like it! I agree that the color difference of the hallway adds depth. It’s a subtle effect and it takes a bit of extra work, but it helps to make the blue light look like it’s part of the scene rather than just a filter.

What I still have to do is add the hyperspace tunnel in the windows, and mask the hallway in a later shot.

Here’s a look at the coloring of the second scene.

It takes a lot of masking to keep the hallway color untouched.

Yeah, the sequels have very different visuals in many aspects. So I’m going for a look that fits with the older aesthetic rather than trying to make it look like it was made today.