Asteroid-Man said:adywan said:well i just popped in to do some catching up and... wow. So much reading to do. I just wished i'd known you were going to post all that, ImperialFighter, because i have already finished the stardestroyer scene and have fixed the positioning problems.
because i was already going to be cleaning up the Fx i decided it would be easier to redo the whole position of the stardestroyers than use any form of flip shots ( i just hate flip shots. lol)
i've got a lot of reading to do so i will reply to everything else soon.
The lasers in the second shot should have white cores, no? I'd assume it would look like lightsaber-bullets in a more simplistic way of looking at it. I can do a mock up if you don't get what I mean.
ChainsawAsh said:I don't think TIE lasers ever had white cores, they were always a light shade of green like that if I'm not mistaken.
Ripplin said:Yeah, a yellowish green. He'd be wanting to make them match up with the ANH lasers anyway, right?
Oh how the colour abomination of the 2004 set has clouded the truth. lol. The TIE lasers have always had a yellow core. sometimes they have a lighter core but mainly yellow. here's some snapshots from revisited with lasers that i didn't change and the last shot is from ESB GOUT
ImperialFighter said:However, I really like that 'close-up' shot of Vader 'from the back' as he looks out....so I'm hoping that rather than removing it totally....that you are instead planning to use part of it, to replace EITHER of the slightly shorter FIRST or SECOND 'close-up' frontal' shots of Vader's mask that come next, as we hear the words "Luke", then "Son, come with me". The current neat shot of him looking out (with the tiny Falcon amended of course) would definately work very nicely at either one of these points....especially since we are just currently seeing exactly the same kind of 'close-up' frontal shots close together anyway.
I reckon this new order of shots will look fantastic with your latest one, if you just lose one of these similar 'frontal' shots, rather than lose the Vader 'from the back' shot....
a slightly different shot of Vader from behind now replaces the original due to his position fitting in with the new shots. here's the shots in their final sequence
as you may be able to just make out the falcon now heads away from the executor on the right hand side instead of just heading to the right as it did originally. It is also animated with TIE fighters chasing it firing lasers.
Monroville said:professa said:So that is not close enough for the Executor to lock onto them with a tractor beam? Really?
it's not in range because the sd's own mass is blocking the line of sight from the tractor beam emitter and the falcon - imagine trying to look under your own chin without a mirror
Impfighter said:
So would also agree along the lines of what professa said too.I am dumbfounded. How can there be any argument here?!?! The Death Star tractor beam was more like a field, in that it caught the MF when it came into range. Yeah, yeah, yeah, you can argue it's mass, spherical shape, etc but REGARDLESS... even if you are right professa, are you still telling me that the tractor beam is going to be in the tippity-tip of the Executor nose (where it would serve no use whatsoever for getting said tractored ship into the docking bay which is where on the ship? The nose? Or a few miles back? And yes, MILES) and even then, Piett and company aren't going to be ready so as soon as the MF clears the nose... BAM! Gotcha!
Nooooo! Instead, he's going to take his time, set the calibrations, ho hum... "ah, here we go... wait a minute.... dum de dum.... still charging....(again, X the Eliminator's death console charging up sounds)... okaaaaay, NOW.. uh, where did they go? Lord Vader is right behind me, isn't he?"So the Executor is only going to have ONE tractor beam emitter and that is in the nose...nowhere near the hanger bays, nor the side bars where the Executor may actually dock to something with, nor the command tower where something may try to HIT it.
And et tu, ImpFighter? Really? Because the Executor could not have had the tractor beam already set to go, so when the TIEs herded the MF TO the Executor they couldn't have just stuck out the net to catch the fish, so to speak? Really? Because there was so much going on that no one on the Executor had the time to warm up the tractor beam, nor did anyone get the memo that Darth wanted to capture the MF... so what were we doing in that asteroid field again?
You know, here is a suggestion, Ady (not that you will do anything with it other than shoot it down):
have the Piett scene BEFORE the MF damn near lands on the Executor, maybe even before you see the distant shot of the MF closing in on the Executor (for pacing sake, you could have it right before the MF is in Bespin's orbit and the sun rises; that way that shot can immediately segway into the Executor in the distance shot). During some of Vader's close-ups, add some audio in the background that can barely be heard to the effect of "it's hard to lock on.. I don't know why.." ala ANH, with Vader's "The force is strong with this one"...
As in: Luke is the reason the Executor is having a hard time locking onto the MF, when the only other explanation is God-like incompetence. Yes, it's the Empire, but I thought we were supposed to take them seriously in this movie... even if its just a little more seriously... you know, a tiny bit more seriously (you know, before they get defeated by teddy bears)?but yeah i agree most imperial stormtroopers couldn't hit water if they fell out of a boat
WHAT?!?! Someone agrees with me on something?! And I don't have to add 10 links or images to back up my case to the millisecond?
wow, what's with the attitude Monroville? so all i do is shoot down every suggestion you make then?
I don't see why you're having such a problem with this tractor beam issue. the falcon is being chased by a stardestroyer a few times in this movie and not once does it use the tractor beam. In ANH the stardestroyer had to disable the Tantive IV's engines before it locked on its tractor beam. Also the Death Star is able to lock onto the Falcon pretty easy because its flying straight towards it unaware that its a space station until its too late and therefore makes no manoeuvres to avoid it. Why would leia not fly away from the Executor instead of so close to the side of it while chewie fixes the hyperdrive? maybe she knows something we don't about the placement and targeting system on the stardestroyers tractor beam? lol
darthmunky said:I don't know if this was already talked about or not, but will the unused John Williams score be restored?
No, i won't be restoring any of the unused music. i may do an alternate track for the DVD-9 with the unused music restored though but that will just be a 2.0 track so won't impact on the final bitrate of the movie.
Monroville said:Here are a few suggestions for CLOUD CITY:
WHEN LUKE ARRIVES ON CLOUD CITY
When Luke first arrives, maybe you could add some moving clouds in the distance, as well as something to break up the overall white/blue hue of the entire picture.
Will you add anything outside these windows? Doesn't need to be too busy (moving elevators and all that junk), just will we see the outside buildings and clouds?
Someone earlier mentioned this scene, where R2 comes upon a doorway he couldn't have entered anyways (may want to lower the entrance to match the floor)CARBONITE CHAMBER FIGHT
CARBONITE CHAMBER GANTRYWAYS:
the carbonite chamber has these peculiar areas that can either be paneling or gantryways extending into the distance (ala the detention block hallway, which in the original was a forced perspective shot). I was wondering if anything could be done to redo these "gantryways" to give the carbonite chamber a more expansive look (maybe even include some far away background details to give the impression that they are in a much bigger chamber
Maybe you could take one of the scenes (such as when Han and company are taken to the carbonite chamber for the first time), decrease the image and fill it in with a larger establishing shot to show just how big the room really is, ie what they did in the STAR TREK HD episodes:
In fact, it could be alluded to that the carbonite chamber is suspended in the center of the same shaft, above the vent pods seen below. Their function may be to monitor the pollution levels from the excess slag dropping from the higher carbonite chamber (if you decide to do anything with the bluish area around the carbonite chamber, maybe you could take the wall designs below and put them far in the distance. Also something to consider if you do the expansive establishing shot of the carbonite chamber - maybe you could take the DS2 reactor shot from ROTJ to use as a ground work for such an establishing shot. If there is a flat level area you could put the actors moving on the "set", the rest would be CGI to show the central platform suspended in the center of the much larger air shaft)
Something like this as a basic starting point. The center area would be bigger to allow said scene of Han, Leia and all arriving in the carbonite chamber to still be viewable by the audience (being that a lot of shots are level, they could be "bluescreened" onto the center section). You could even show them being escorted on one of the gantries to the center chamber. You could show some superstructure below the chamber we see, to allow for Luke and Vader something to land on at the end of fight #1 and work their way to the shaft walls.
The possibility of making it look like something spider-like in a giant web comes to mind... not that Luke is any mere fly...
I have yellow boxes around the areas in question. This may be more trouble than what it's worth, but it's a suggestion none-the-less.
if you do decide to expand the area, here is a suggestion: taking a scene such as this, decreasing it within the frame so as to add material in the blue area.
may want to consider adding some blue lighting and maybe smoke effects in the area Luke is coming from to help match it with the carbonite chamber bluish-nish (to clarify: NOT the entire tunnel, just the circular opening Luke is coming out of).
Also consider elongating this tunnel, since the central vent pod he is descending to is quite a bit further out from the central vent walls in the following outside shot (seen below).
CENTRAL VENT POD FINAL FIGHT:
There are some architectural issues going on here. As you can see in #1, you can see the tunnel Luke came in from in the previous scene (you can see it connects at a diagonal -30°). #2 has an arrow to show where this tunnel is/ where Luke came from. #3 has an orange box around the window Luke will be thrown out of. #4 you can again see the tunnel hatch from where Luke came from.
#5 is where the problem begins. The orange hash-mark shows where the vent pod SHOULD be connected to the main shaft; yet the connection is much lower.
My suggestion is to move the connecting arm to the upper part of the pod to accomodate the tunnel Luke comes from, and move the platform Luke is holding onto and the gantryway that Luke loses his arm on to the lower area of the pod. This gives Luke a greater distance to fall (@ a 40 foot drop as opposed to 5 feet right outside the window) as well as give Vader some levels to go down to get to Luke. It would also give Luke the possibility of escape as well as negate any chance of hiim just climbing back into the window he was thrown out of.
#6 suggests moving the window Luke came out of higher to accomodate the gantry arm being moved to the lower area of the pod.
Regardless of this, will you be adding more pods to the central vent shaft ala the RmcQ painting above (not that I want this, but are you considering it)?OTHER THINGS:
will you consider updating the lifesign graphics on the side of the carbonite slab that Han is in?
will you be keeping the original indoor hallways or the SE outdoor hallways. I think I prefer the indoor hallways, given that they are in a large building as well as it adds to a maze-like nature that adds to the tension.
I take it this is the shot with the window-less SLAVE 1? May want to consider adding moving clouds as well.
again, maybe add some moving clouds as well as escaping ships from Cloud City in the background.possible cameo by yours truly (meaning you, Adywan)? If so, stop stealing George's ice cream machine!
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i may do something to the outside matte in that first shot but i won't be adding anything outside the windows. i want to keep a bit of the claustrophobic feel in this sequence and the same in the carbon chamber so i won't be extending any of that too. there isn't much i can do about the perspective of the gantry's in the chamber because of all the smoke though.
when R2 approaches the doorway i will be fixing the issue of it being impossible for him to enter it. as the door is closing the bottom section will rise
the whole problem with the vent and the position of the carbon chamber , i really don't know how i'm going to tackle this. in the cutaway illustrations they have placed the carbon chamber in the dome above the window, but this doesn't make sense as where the hell are the corridors that luke followed Liea and the gang through before being elevated upwards into the carbon chamber. it all doesn't make sense at all. the only idea i had is that before he enters the small tunnel, instead of seeing the last few frames of him climbing down a ladder, that i add him coming out of some sort of lift, but that still doesn't really sort out the problem. I'm probably going to have to redesign the whole vane matte shots to try and bring some believability to the whole sequence.
All the matte shots of the landing platforms at Bespin are being completely redone so they will have moving clouds.
I'm not sure where i will be placing my cameo just yet although there are 2 times already that i will in some part be in the movie.
Not sure if i will be replacing the walls or keep it open in that shot. the problem is that the GOUT is just such bad condition that using such a large portion of it to replace the elements of the SE would stick out like a sore thumb. plus they changed the position of the characters for the SE so they move out of shot a lot sooner than originally so the whole shot would almost be completely GOUT and therefore not good.
I will probably be enhancing the life reading display on the carbonite slab
ben_danger said:heres something that ive remembered, it always bugs me:
luke seems to move forward whilst this door shuts. its probably because they got mark hamill to stand very still whilst they closed the shutter and switched the lights off, then just sped it up.
is it possible to smooth out the rickety stopmotion and stop him moving?
yes, i'll be fixing this jump cut