That would be awesome because of the different language and other alternate audio and subtitle tracks. But how would you handle the frames missing at the reel changes?
Well I can think of several options:
- Insert Black frames - which is perfect for the missing frames between Reel 1 & 2 because they are black anyway, but possibly a little jarring everywhere else.
- Duplicate a few frames, or use some sort of interpolation technique.
- Recreate the missing frames perhaps by using another source, e.g. Upscaled GOUT or the Despecialized Edition with added grain or something to make it look like the other frames in the shot.
Personally, I think option 3 can be made to work in such a way that most people wouldn’t even know that’s what we did, but at the same time, it feels like cheating. We vowed to use nothing but the film sources and I think we need to stick with that, so I expect we will just insert black frames.
Whichever option we choose, there will be people who don’t like it, but one of the best things about this forum is that there will be somebody ready to step up and implement the alternative options. They will feel strongly enough that the short black “flash” is not good enough for them personally, and there will be others who agree, and between them they will find their own way to smooth it over, and hopefully they will share that with others.
Perhaps this is why Lucasfilm / Disney can’t be bothered to do it themselves - we (the experts) can’t all agree on what is best - some like grain, some can’t stand it, some like the “invisible CGI” fixes like the digital recomposits of the SE but want other changes removed… There are already so many different versions of the film and none of us can agree on the correct color timing, cropping, or audio tracks… The only solution is for us all to come up with the version of the film we want to see.
Personally, I’m old school. I want it to look as close to watching a 35mm film print at the cinema in 1977 as possible because that is the film that won the Oscars. That is the film that became a phenomenon, and that is the film I want to watch. I think we’re getting closer to that goal.
And I think that between Harmy’s Despecialized Editions, our own 35mm preservations (and we have more coming), Poita’s and everyone else’s projects, and all of the hybrid projects that will inevitably spin off from all of these, we will eventually get there. We will all find our personal Star Wars Nirvana.
Am I making any sense at this point or am I just so tired I’m delirious? It’s 2 AM, I’m going to bed! I gotta get up and go to work tomorrow… “Star Wars Nirvana…” If we find that, what the hell are we gonna do with all that spare time?
It’s great that you found 85 of the 111 (or so, I think) frames.
Blank frames (or better yet, looped black frames from the same segment) are perfect for reel 1 to 2.
2 to 3 is a bit trickier, but I think you can rate-extend the reel 3 head to fill a few frames, frame blend, etc. The start of the shot is static iirc.
3 to 4 is the real trick, as discussed earlier. I hope you’ve gotten a lot of this one back, because there’s movement on both ends of the cut that will seem jarring when modified. As a side note, it would be nice to clean up some of the huge markings even if you leave the actual reel marker.
4 to 5 might be tricky as well as it’s in the midst of action. I can’t think of what the character motions are, so it might be possible to tweak the surrounding shots without hurting things too badly.
5 to 6 would be easy to extend the x-wing start on the reel 6 head.
I’m just hoping it can be done without relying on things like the GOUT. But hard cuts to black frames are the most jarring of all, and not really suitable for a final BD release in my biased opinion.