Complete Comparison of Special Edition Visual Changes — Page 58

hot noodles over on the TN1 forums has discovered that they have added flashes to 19SE to cover the bendy blades.

There may be more flashes added.

In case you didn’t see, Pablo Hidalgo fully endorsed our efforts!

Hah. I was gonna tag you to clarify because you’re the hands-down expert on such matters! 😃

Taking note of this for V2, thank you!

My VHS copy of Faces did not have blue lasers at any point, I assure you of that.

^ My VHS copy of the fullscreen ESB has the blue lasers as well , I have always wondered about this , even asked about it in these forums several times over the years .Restoration glitch seems the most likely to me …not much info on it out there though .

I watched Faces 100 times, how could I miss this. I suppose I was a child.

crissrudd4554 said:

Don’t know if this was mentioned but the Digitalbits article on the 4K version of ANH mentions that the speeder was shifted slightly to the right in this scene. That’s not actually correct. The image is cropped somewhat more in the 4K version compared to the 04/11 versions.

YOU DOUBT ME?!

What’s really messed up is not only is it moved over slightly, the left side of the speeder is in the same place, like they pasted it on top of itself?

A I said:

I am new to this forum and I’m just wondering what the closest versions to the original theatrical releases are online?

If you’re looking to go as authentic as possible, then 4K77 and 4K83 are the ideal option. They’re downloadable on thestarwarstrilogy.com.

This is some serious stuff

Hey guys 😃 Is there a comprehensive comparison list of the 2019 changes discovered so far? I went trough the first post and couldn’t find one.

Unfortunately I only have a really comprehensive list for RotJ so far. Waiting for 4K77 V2 before doing ANH and 4K80 for ESB.

Since I just finished my edit of Star Trek: The Motion Picture, I have a few notes and changes to add for your series of comparisons. I know this thread is for Star Wars, but since bluesky doesn’t have DMs, I didn’t want to send an unprompted thread your way over there.

TDE22.008847-Viewscreen.png
I don’t think this is a recomposite, as you don’t see any additional clarity to the live action. Rather, it’s a modification on top of the theatrical effect (you can see the borders of the view-screen altered if you brighten up the shot).

TDE22.014394-Klingon Reframe.png
“The explosion has much more detail thanks to the HDR pass”
Not really what’s happening (as this is an SDR image), it’s just that the colorgrade shows more highlight detail.

TDE22.148958-Kirk Catch.png
This shot is not recomposited (same exact frame geometry), it’s just that the smeary filter they run a lot of effects shots through in the theatrical master hits it really badly here.

TDE22.166347-Matte Lines.png
Also not recomposited, they stabilized the background to remove a jump that’s part of the theatrical effect and isolated the Enterprise to keep its motion on the original path (and removed the matte lines with a chroma-key).

TDE22.177879-Lightning.png
The color grading also brightens their faces a little when the lightening strikes.

TDE22.193901-Vger Ascend 0.png
Not recomposited, that’s all differences due to color grading.

As you’ve no doubt realized, they do a ton of changes via color grading and messing with Davinci Resolve throughout the film and cataloging every one would be an enormous and probably fruitless endeavor (my favorite, which I can’t find now, is an inexplicable one-frame replacement of Uhura’s finger). However, I feel the following differences change the reality of the frame and more substantially alter the mise-en-scene in the way the other changes do.

For these shots of Kirk, the DE selectively brightens his face (very awkwardly).

The DE removes the shadow of the lighting rig that falls on Chekhov. Comparison w/ the SLV (Tone-mapped and brightness matched with theatrical bluray).

This shot is also colorgraded to make the deflector dish amber.

The DE re-frames this shot to show all of the man on the left, taking advantage of the fact that section of the frame would be on the original negative (and which would have been matted out by the soundtrack portion of release prints). Comparison w/ the SLV.

Thanks, I’ll take a look at these!

Thank you for all your work over the years on these. Always an invaluable reference.

Further thoughts:
TDE22.053879-Bee Recomp.png
Brightening this up reveals that they selectively colorgraded the workbee’s cargo to be grey rather than it’s original tan. (there’s a lot of selective coloring throughout, so I don’t know if you necessarily want to mention it, but it is a change that’s part of the recomp).

TDE22.074432-Shuttle Dock.png, TDE22.075171-Shuttle Leave.png
I might note the new layers they add to this recomp:
There’s a new red light layer over the nacelles. I am very confused on what this is meant to represent (light casting on them from inside the window?) but it looks intentional. The “warp sled” of Spock’s vessel is matted differently and has lost the steady running light on it (though the blinking lights are still present). There is also a new element meant to represent a reflection on the Enterprise’s window (it’s in front of the warp sled).

This is a recomp. (Hard to tell because of how dark they made it, but if you brighten it up, you can see the differences in how the the dry dock is aligned + the starfield is different).