STAR WARS: EP V "REVISITED EDITION"ADYWAN - 12GB 1080p MP4 VERSION AVAILABLE NOW — Page 501

RoccondilRinon said:

I will always think that it took the Falcon on the order of months to reach Bespin, given it is unable to travel faster than light and Han's line "it's pretty far but I think we can make it", and also given that Luke must have spent at least that much time training with Yoda. The only issue is the lack of progression of Han and Leia's romance, but we can assume that that took place offscreen.

So as far as onscreen editing and colouration (either GOUT or SE versions), did they arrive at 'sunset' or 'sunrise' in your view?

oh_riginal, let me be the first to 'lol' that!  That window shot is one view I'm particularly hopeful for Adywan to enhance somewhat.

RoccondilRinon said:

 Either way, all the action at Cloud City after their arrival takes place over a single day — same day if they arrive at sunrise, next day if they arrive at sunset.

Agreed, but I personally assumed the colours looked more 'sunset' than 'sunrise', but who's to say that Bespin's 'atmospherics' look like ours anyway, I guess? 

Will be interested in Adywan's take on this aspect.

If you look at the film they clearly land in the morning, the sun is pretty much up when Threepio is shot, it's blazing sunlight when they meet Vader and dusk when they escape.

Even if they spent more than one day on Bespin I don't think Lando would keep them in customs for 10hrs.

I imagine that Ady has everything done pretty much already but here's my stab at the dawn:

adywan said:well its pretty logical that the falcon wouldn't fly towards the city, then when it reaches the buildings does a 360o turn so that the sun is in the position it shows in the approach shot, then does another 90o turn as it reaches the platform. That makes no sense whatsoever.

But didn't you state a while ago that there could be another sun when I commented on how awkward the new shot of Bespin looked with the clouds being shown in different shades of lighting in the same frame? 

We already revisited that possibility of Bespin being a binary system. Personally, I would rather not make it binary, but then I don't care so much about what are, let's be honest, rather trivial inconsistencies such as which direction the backlighting in the clouds is. And for one minor glimpse of the sun behind the cloud car, if I cared so much it would be that shot I changed, rather than the subsequent, more striking shot of cloud city with the sun behind it.

I can't wait to give that a try when I get home. Stuck at work all weekend and today, really looking forward to getting some more mattes done when I get home.

Nice ideas, and well done, but I prefer the original SE, or close to it, like Adywan's already shown in stills.

Love the work, when is it going to be ready?

^ thanks for the info.

Can't wait for Jedi.

Okay, I've ended up pondering this 'timeline' thing a little more where the Bespin scenes are involved, lol....

Although this window shot (seen immediately after the Falcon's intitial approach / landing at Bespin City) was given an SE 'orange sunset' makeover to tie it in better with the previous shots, rather than the suddenly 'blue daylight' originally seen at this point in the GOUT, I've realised the other things that also contributed to why I always thought this was a 'sunset' arrival, rather than a 'sunrise' one....

When the above scene ends with C3PO getting shot unbeknown to the rest of the group, we then immediately cut to a NIGHT-time setting for the next scene that shows Luke deciding to fly off from Yoda and Dagobah.  But when we eventually cut from this 'night-time' scene back to Bespin again, we now see scenes of 'bright daylight'.  It's this 'flow of light' in the order of the scenes onscreen that has reinforced this impression for me -  First 'Sunset',  then secondly 'night-time', then thirdly 'bright daylight'.  That's what gives me the impression that the 'bright daylight' scenes are meant to be during the next day, after they arrived.  However, I realise that there is no reason whatsoever why it can't be 'daylight' in the Bespin system system and 'night-time' in the Dagobah system at the same time during these unfolding events onscreen.  Equally, there's no reason why they have to be either, considering we don't know how far apart they are, or how often either has 'sunsets' or 'sunrises'....

The other things (apart from the sky colouration) that always gave me the 'sunset' arrival viewpoint, were that when we DO revert to 'bright daylight' scenes after the 'night-time' scene on Dagobah, is the fact that Leia is shown in a totally different outfit by this time, with a differently-styled hairdo also.  Again, no reason this 'change of image' couldn't have happened from earlier in the same day, had they arrived at 'sunRISE'....but to me it just reinforced visually that a longer 'passing of time' had occurred, and could be showing the NEXT day....

Finally, back to the question of why Lando would have to wait to betray the group to Vader and his troops until the next day, considering he tells them that they'd arrived just before they did....well why didn't he just lead them to Vader IMMEDIATELY in that case, rather than spend ANY time whatsover accomodating them before doing so?.....  Possibly because Vader wished it so for various reasons at that point, and Luke's flight towards Bespin from Dagobah takes an undisclosed length of time onscreen after all....

Either way I'm happy, but I just hope Ady doesn't end up 'yellowing' up his amazing skies....  I always loved those 'orange' hues....

I'm inclined to agree with that. While, as you say, nighttime on Dagobah doesn't in anyway have to correlate with nighttime on Bespin, it helps the film dramatically to have it play that way. It's just easier for the audience to accept that flow, because our own very simple clocks work that way.

And let's face it - and there is obviously no empirical information in the film to support this - but it just looks and feels like sunset, not sunrise. In the theatrical version, yes, the pattern does seem to indicate sunrise, then bright daytime, and then ending with the escape at sunset, but it just doesn't feel like sunrise.

Darth Venal said:

In the theatrical version, yes, the pattern does seem to indicate sunrise, then bright daytime, and then ending with the escape at sunset, but it just doesn't feel like sunrise.

I'm basing my 'sunset' impressions on the colouration of the initial Bespin approach seen in the 'theatrical' version too, to be honest Darth.

The colouration in the following shots leading up to C3PO getting shot were a totally mixed bag, but apart from that eventually 'fixed' window, there was still nothing that dispelled that evening 'sunset' mood for me, over the years.

Or we could open a window and all get some fresh air and care a bit less...

but why would we wanna do that?