INv8r_ZIM said:"there is something i do need a little help with though. The scene where they walk down the steps (straight after they leave the landing platform) and through the corridor, for the SE they replaced the window at the end of the hallway with a new outside matte, but forgot to change it for every other shot. I have tried using the GOUT to replace the new matte to restore it to its pre-SE state. the problem is that there is so much wobble on the GOUT video that i can't use it. I have seen in the GOUT image stabilisation thread about running a script in avisynth but i really don't know where to start with that program would anyone be able to use that script to stabilise just that scene? Any help would be greatly appreciated."
May have missed this, but did this ever get answered, Ady? I'm actually in the middle of rendering a lagarith copy of the ESB Gout run through G-Force's v4 script right now if you still need the sequence.
No, it never got answered. It would be great if you could get that sequence to me INv8r_ZIM. many thanks.
Well i have solved the issue i was having with the placement of the Executor bridge and the control room. It came to me the other night when i was looking at the final shot in the movie of Vader waking off the bridge and down some steps. Why not change the background to include the control room. this would explain how Vader got to the control room from the bridge in the probe droid report sequence. All i had to do was change the background for the final shot and add steps to the wide bridge matte shots. sorted.
Now onto the Carbon chamber issue. I was looking over your plans to have the chamber at the top of the shaft but this creates more problems than it solves. That is a hell of a long way for Luke to travel to find Vader and really doesn't make sense. Why would Vader run all that way away from Luke just to lure him to the vane? All that needs doing is redesigning the actual vane so it can contain the carbon chamber at the top and explain where the corridors that led them to the chamber disappeared to. Its quite plain to see now i have gone through the Luke jumping down from the chamber to the pipe that you can clearly see that behind him is the base of the carbon chamber as the architecture and piping is very similar. It is meant to be one complete sequence as you see Luke drop from the chamber (even though you can clearly see that he jumps from hanging onto a pole in the first few frames of the pipe sequence, but this was just to simulate his drop during filming). So this means that the carbon chamber is indeed meant to be built into the vane. Now it looks like i'll have to build some sort of model for the vane shot and do a lot of redesigning, but at the same time keeping the look of the original.
Also i won't be extending the actual carbon chamber in any way. Although it does look pretty cool in the McQuarrie paintings i feel that the limitations reached during filming actually helped the scene and gave that claustrophobic feel that this scene needs. Make the chamber look to big with all these extending platforms and your treading too close into PT territory for my liking. if you look at the PT everything is just so expansive and flashy which just became a show piece and did nothing to help create any sort of mood for the scene. Less can be more.
vaderios said:Could be a new exended duel shot?
-Angel
Nice shot but i won't be extending any of the duel scenes. the only thing that will be changing is by adding new mattes
I love to see all these ideas come out in visual form. It really helps me to visualise what is being suggested.