The Last Jedi: Stoic Edition (WIP) — Page 4

Should I:

A) Release a V1 with all of the current “dialogue reduction” trims, without the additional story changes and VFX changes I’m currently waiting on, and leave those for an eventual V2?

B) Wait until those are complete, which could potentially be never, the workprint with unfinished shots in place is fine until then?

I’ve exported some scenes as examples in the top post, plus there’s the workprint. If you want any specific scenes for your own edit, lemme know and I can export and send them to you without the workprint watermark.

I might do a V1 just so I can move this into the “finished” pile, then come back later to do the remaining few bits for a complete V2.

I have now got access to Premiere Pro CC’s optical flow tool, which means I can extend shots seamlessly.

I warn you not to become drunk with power - there are many ways in which that tool can fail.

You can make the opening crawl last for the entire soundtrack.

NeverarGreat said:

I warn you not to become drunk with power - there are many ways in which that tool can fail.

So far I’ve only used it for two shots, to eke an extra second or two of footage out of them. I figure it’s something to use sparingly rather than rely on too hard, in case I let it become my only option for something and then it doesn’t work for it.

Hal 9000 said:

You can make the opening crawl last for the entire soundtrack.

D…doesn’t it already?

That means the only things left to do on this entire edit are:

• VFX insert shot of the plomme bloom. My friend is working on this, but he has about as much spare time as I do, so this’ll probably be the longest wait.
• Rose’s “shuttle” line. What I have isn’t working, so, I’m going to let ideas for it percolate in the back of my head. Really, I only need audio of Rose saying “The shuttle!” and the rest is clear from context, which seems doable. Any suggestions are welcome!
• Audio removal issues. The lightsaber humming in the third flashback and the music cue when Finn and Rose say “The Master Codebreaker!”. I’m okay with just using the music cue in the second as a comedy sting - it might be distracting to people who remember the original context of the music, but all I can do is work towards the theoretical “watching this edit for the first time on opening night” audience. The lightsaber humming is the bigger issue, since his saber is now off when he says those lines, and I don’t know how to remove it, if such a thing is possible. It’s present on the dialogue channel.

SparkySywer said:

I watched a bit of the workprint today. With some distance, I think there’s a bunch of things that don’t quite come together well enough, and some transitions that stick out. I’ll revise them if I get the chance to do so; I don’t have much time but I’m also not in any rush to get this edit out there, especially since the workprint is available. It’ll happen when it happens.

This project has been on my mind lately. What I’ve decided to do is create a V1 that I’d be happy with even if a V2 never materialises. So, I’m going to watch through the workprint and note where it works and where it doesn’t work, and patch over the latter with Hal’s Legendary edit (which I used as a base, and is my current go-to version to watch). I do think there’s gold in the hills, but I’ve dug up a bunch of rocks with it in my overzealousness.

(For the record, I do still want to get the “Master Codebreaker was always DJ” change to work eventually; that would be my aim with a V2.)

It’s a neat idea, but if DJ had that sort of pull, why would be be in a cell that he needs to break out of?

The current hold up on the plomme bloom VFX is actually me, not my friend who’s doing it - he needs me to send him some 4K files and I haven’t had the opportunity to sit down and sort it out.

I think it might raise more questions than it answers, yeah. Plus, I like that he shows his skills in a very genuine way by hacking out of the cell; it’s a nice character beat to realise that he’s been thrown in a cell (for presumably cheating at gambling) and decided it’s as good of a place as any to get some sleep undisturbed.

Reno Skywarp said:

I’d definitely like to check out the work print

PM sent!

RogueLeader said:

I had assumed the DJ was staying in a cell for a reason. That maybe he was safe there from potential threats, since he was basically guarded by armed security. He clearly can enter and leave whenever he wants. Or maybe that’s just where he wanted to meet Finn and Rose to prove his skill. But I could see how that might bring up some questions though.

I like this idea, although I think this might be too much to convey through fanediting

CaptainFaraday said:

Reno Skywarp said:

I’d definitely like to check out the work print

PM sent!

I would also like to check out the work print, sounds sick

Nindroid243 said:

CaptainFaraday said:

Reno Skywarp said:

I’d definitely like to check out the work print

PM sent!

I would also like to check out the work print, sounds sick

PM also sent!

V1 update:

I’ve watched through some of the workprint and made a couple of changes - mostly restoring the odd line here and there to smooth transitions or pacing, cleaning up edits that felt off, and sometimes actually cutting a little more out.

I’m about 1/5th of the way through the movie. I need to record some audio to replace a temp recording I forgot I hadn’t replaced, and, I’m wondering if someone can use that new C-3PO TikTok thing to record a couple of 3PO words for it. EDIT: Thank you, DMC!

All things considered, I’m happy with how it’s turned out so far.

I’ve revisited and tweaked Rose’s added line, and I’m satisfied, for now, with what I’ve done. Now, BB-8 rolls in and burbles emphatically, Rose says “The shuttle,” BB-8 bleeps in alarm, and the group sprints off. I don’t think the added line is distracting or noticeably sentence-mixed, although it does sound like a bit of a flat delivery perhaps. It’s fine for its purpose, unless something better shows up.

Here’s the new C-3PO line, courtesy of DMC.

And, here’s the current state of Rose’s new line. I want to smooth the background noise and fix the bad lip sync when I get the chance, but I wanted to show where it’s currently at.

I’m watching it back without being able to see the editing timeline, and every now and again I’ll pause it and swap over to fix a dodgy cut, only to realise it’s one from the theatrical edition, not one of mine. Which is not a criticism, just something that tickles me; I don’t need to be as precious about my own cuts as I am, perhaps.