SomethingStarWarsRelated said:
Those look fantastic. I’m digging the Mos Eisley shot…which makes me wonder: are you keeping the CGI “crane” shot as the speeder moves into the city? I love the idea of that shot but there’s so much I can’t stand about the execution of it. The main complaint is it’s too fast and too polished of a camera move. One should see some imperfections in the movement of the image (slight camera shake, focus pull, etc).
But the reworking you did of Mos Eisley and Bens hut does look really nice. I would love to see more things like this done to the movie. It’s too bad the CGI can’t be redone in the end battle to blend in and look more model like. To me, some of Howard Day’s stuff looks like a really nice blend (even though it’s all done in the computer).
http://www.youtube.com/@HowieDay82
The crane shot of Mos Eisley greatly overexaggerated the size of the location in my opinion, and its so ridiculed with outdated VFX elements meant to fill every frame of the sequence with life that it comes off as quite overstimulating, so while initially I included it, I later decided to cut it out since it looked too much like a 3D render demo reel and doesn’t serve much function to the story aside from helping extend the score a bit.
Even if AI gets to a point that it could retexture all the bad stuff in the shot, it kind-of defeats the cinematography established in 1976 which had a more documentary-style look to it anyway that the miniature SE shots still retained. I just cleaned it up to match the on-set location a bit more since they literally shot it in a fishing port.
Also, I’m hoping for Dr.Dre’s new incredibly powerful algorithm to recolor some shots of the Yavin battle to make the colors and materials feel a bit more like miniatures and less like demo reels, but even then I still find them appropriate for the time anyway. I’m treading a fine line of CGI and 70s elements to ensure they all line up pretty well.
