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pittrek said:
Why did they do it? To hide the wheels of the speeder?
The speeder had chapped lips.
pittrek said:
Why did they do it? To hide the wheels of the speeder?
The speeder had chapped lips.
TV's Frink said:
pittrek said:
Why did they do it? To hide the wheels of the speeder?
The speeder had chapped lips.
You sir, have a chapped brain, lol.
Does not compute. AFAIK you don't put chapstick in your brain.
I heard somewhere that they had a large mirror underneath as well as the jelly on the lens.
"The other versions will disappear. Even the 35 million tapes of Star Wars out there won’t last more than 30 or 40 years. A hundred years from now, the only version of the movie that anyone will remember will be the DVD version [of the Special Edition], and you’ll be able to project it on a 20’ by 40’ screen with perfect quality. I think it’s the director’s prerogative, not the studio’s to go back and reinvent a movie." - George Lucas
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The Vaseline thing does confuse me. I assumed it was on the plate, but the SE doesn't show it. Maybe that was an intermediate optical effect before they duped the ground on top of the wheels and created that discoloration? (Yes, as described in the interview I quoted, that orange or pink blob was an optical that ended up not matching the color of the live plate. (Notice the white lines around the guy's legs when he walks in front of it. That's where they rotoscoped him. And the footage must have been blurry by the time it got to that pass, because look at how eaten away his legs look. Looks like they had to sort of guess the outline, probably because the shape was so vague.)
But yeah, I see how it follows the speeder. And actually...maybe it was in camera but they digitally sharpened for the SE? I swear I can still see a little diffusion on the remaining original bottom of the speeder.
Not sure about the mirror. The pickup shots done in California (Look, there's a droid on the scanner) used the mirror, but notice that when they're going to Mos Eisley the speeder is behind a rock outcropping. That indicates to me that they hadn't hit upon the mirror trick while in Tunisia.
I'll try to get Edlund to provide some more details.
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Quick video response to a common question:
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-1 Has been holding on us this whole time! I wish I had the time to make a film. I'd love to interview you guys behind the scenes. Is team -1 cool with you using their scans? The film needs some drama.
lucasdroid said:
-1 Has been holding on us this whole time! I wish I had the time to make a film. I'd love to interview you guys behind the scenes. Is team -1 cool with you using their scans? The film needs some drama.
If it's the spanish print, Negative1 had a post on this forum about 2 years ago looking to sell it. They say they still have access to it, but not that they have it. So, it sounds like a reasonable fate of the print?
Really enjoying these videos, by the way. Please keep them coming. :)
Oh. So they sold it to MV?
lucasdroid said:
Oh. So they sold it to MV?
Just speculation. Negative1 was interested in selling it at one point, so either way it seems unlikely that they'd be upset about its usage.
I am not using -1's scans. I had it scanned myself at 4K in November 2010, long before negative 1 was doing their thing.
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mverta said:
No, I had it scanned at 4K in November 2010, long before negative 1 was doing their thing.
Unless by "negative 1" you mean the original negative1, and unless by "doing their thing" you mean "bringing the crazy," in which case it dates back to at least 2008.
To be fair, I just checked the mod date on the scans and they were dated 11/2010 - it's been so many years that I've been on this thing I wouldn't put my kid's life on when I had it scanned. In any case, -1 (Raj) sent me the print years ago, I scanned it, then later returned it to him, at which point there became the "group" team-1, and they built their own scanner, did it at 2k, and I think now have redone it at 4k, but I'm not sure. That's as much as I know. In any case, it is a nice print, as you can see from how little effort is needed to return a nice result, but I don't use it. A few people have just asked, relative to my tutorials, how applicable they are if one doesn't have a host of proprietary tools.
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Why did they scan it at 2k/4k if you already did the scans though?
Mike, team -1 have mentioned several times that the scan is 2k and only the newer prints and areas that needed re-scanning were scanned at 4k, the project is at 2k. Poita's scans, I believe, are all 4k (for the SW trilogy).
@lucasdroid - Mike's scans are for his personal usage and for use with Legacy, not for use by others in their film-based projects.
[ Scanning stuff since 2015 ]
Short and sweet:
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It's great to see you posting so many videos now. In the past you always said that not hearing from you was a good thing, because it meant you were busy with doing the work. Now that you're close to being done, we can finally see how that has paid off, and be suitably impressed by it. ;)
Thanks - Yes I'd like to post one every day, but I still have another pass to get through, so my rule is that if I meet my day's goals, then I'll take time to do a video. It's just a touch involved because I have to pull up the source projects and media, etc. but I enjoy doing it.
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Hey Mr. Verta. I wondered if you must be one of those rare people that seriously get a lot of anger and simply sad of what's happening in the film-industry -> color-grading etc.
Honestly myself, I can't even watch movies anymore. Only rarely. Those color-decisions and film-making decisions seriously make me ill. Like I can't even endure a film in cinema anymore, that feeling of something is wrong with life generally prevents me.
Recent best example being
Seein in-production screens that have juicy colors, then the final graded movie looks like a puke-bucket.
I can tell you at least part of what bums me out as a director and a colorist: Every element of everything in the frame is now routinely power-window-graded into something that isn't photographically possible. With a lifetime of experiential data, our brains are near-impossible-to-fool bullshit detectors when it comes to tracing the path of light, reflectance, ambient bounces, etc. The result of the isolated-element grades may be painterly, or pleasant, but they're also not real, which de facto creates a disconnect with audiences when you're presenting what is otherwise supposed to be "real" imagery, even if it's Avengers. So today you'll see blue skin tones wearing uniforms with rich golden and reds, and none of the light from those objects is polluting or influencing the objects around it, which is completely contrary to the physics of light. We have tools which allow us to do anything now, but we rarely question whether it's a good idea to use them. The fact is that the assumed process when filming now is to shoot everything neutral, and do a shit-ton of grading in post. It's not photographic, it creates unreal images - sometimes really pleasing, but also always unreal. One of my favorite things in working with this film is the unified, real color in the frame, because there simply wasn't the option to isolate every element. It's organic and beautiful; a look largely forgotten.
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It's like how colorful the walls of the death star are. If that was filmed today, it would be filtered to the point that the only thing with relatively any color would be the flesh tones, and even they would be desaturated quite a bit. 100 bucks says JJ Abrams is gonna be adding all that heavy filter shit to the new film. He might be shooting in film, but that means nothing about how it will end up looking in post.
"The other versions will disappear. Even the 35 million tapes of Star Wars out there won’t last more than 30 or 40 years. A hundred years from now, the only version of the movie that anyone will remember will be the DVD version [of the Special Edition], and you’ll be able to project it on a 20’ by 40’ screen with perfect quality. I think it’s the director’s prerogative, not the studio’s to go back and reinvent a movie." - George Lucas
<span> </span>
Speaking of Oscar-worthy, here is the restoration of one of Harrison Ellenshaw's fantastic matte paintings - the Falcon in the Death Star Hangar.
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Leonardo said:
Does not compute. AFAIK you don't put chapstick in your brain.
Well, if chapstick does not get put on the brain, then clearly it cannot prevent a chapped brain now, can it?
Always loved that painting. I was recently dumb enough to get sucked into an argument about how replacing "the cardboard cutout soldiers" (the rebels on the side at the start of the final throne room scene) was one of the best things about the special edition and you have to be blinded by nostalgia to want that restored. I said they aren't cutouts, it's a painting (an Ellenshaw I think?) that looked perfectly swell theatrically on a good print, but they don't want to hear it.