Editing Classic Who is quite a daunting task. I have all the envy in the world for editors like Whoflix, who managed just about all of it. His edits also implemented many of the alterations you’ve suggested, such as minxing new new series music, sometimes he even used scores from other sources, including Bond movies for the likes of stories such as “Inferno”
Edit: Nevermind, posted in the wrong thread
Thanks. I’m currently working on using Lois’ reaction shot from the trailer to transition between Clark arriving at the memorial and taking flight, using a sonic book effect for the transition.
Couple of proof-of-concept samples I’ve cobbled together for a potential JL Edit. Nothing is definite yet, but wanted to run the ideas by you guys
Alternative Introduction to Barry: One of the ideas for the edit was to do something different and change some scenes up, I wanted to remove the despair surrounding Barry’s otherwise more fun loving character so I removed all the angst between him and his father. Bruce recruits him by doing him a favour and recommending him a job.
password to view: flash
Another idea I’m tossing around is cutting out Clark’s fight with the Justice League…which would free up the scenes with him and Lois at the farm. I have re-purposed this for a new ending to the movie.
password to view: farm
Makes ya think doesn’t it?
this is a minimalist 30-minute cut of Victory of the Daleks, Mark Gatiss’ first major script for the Moffat era and the second big letdown of the series one episode after The Beast Below. The signs were all there from the two that trouble was brewing, but fortunately the rest of the series was top notch quality and spared such thoughts from manifesting in most fans’s minds until the mass bungling of the latter half of series six.
Victory of the Daleks biggest crime is the New Dalek Paradigm, aka the Teletubby Dalek Rangers…which I couldn’t remove. If I could, I would, I swear[/George Micheal], so I decided to make do with removing the other big misfire of the story…Bracewell, the Dalek-enginerred scientist who “develops” the gorgeous looking Ironside Daleks (why didn’t Moffat keep them on?) is revealed to be a living bomb.
What happens next is a truly despicable bit of emotionally manipulative storytelling where the power of love saves the day for the first time in the Moffat era. It’s time consuming filler designed purely to drag out the Daleks’ inevitable escape and nothing more, so off it goes.
Also gone is the ending with Amy’s crack forming just as the TARDIS dematerializes, just to give this episode more of a one-and-done feel.
PM me for link
In it’s infant stages way back in 2015, this edit was known as “The Moment Has Come”, but a purging of my MEGA account meant it was lost to the tearful rains of time…a good thing too, because I’ve much improved as an editor since then
The episode now begins with the unveiling of the Gallifrey falls painting and the titles follow Matt saying “the day I killed them all”, we have a shortened version of the RTD Doctor Who theme and titles, and then back to the museum for more of the story
I decided to hold back on the War Doctor’s introductution scene until the time came to meet up with The Moment and collect the Fez. Luckilly, there’s a perfect moment to bridge from Ten and Eleven meeting to the fall of Arcadia just as Ten says “so where did it go?”
The destruction of Gallifrey originally came about in my last edit when Clara was talking to the War Doctor and noticed he’d vanish from the chair, but in this version we get to see Hurt actually trigger the big red button that leads to the obliteration of the planet
Most of the story is the same, I opted to also omit any scene with the painting of Elizabeth and Ten getting smashed in by the invading Zygons for reasons that become quite clear at the end. I was never really satisfied with how Whoflix ended his edit of Day of the Doctor, and thought it needed a better closing shot than just Ten’s TARDIS dematerialzing, so I spared the painting shot so we could have a quick pan over to it one more time.
Title still undecided, it’s either this or the Competence Cut.
A 1 hr 20 minute re-trim of the light hearted romp Star Trek IV: The Voyage Home, with much of the over the top humor removed or greatly minimized, scenes rearranged, and whole sub-plots omitted to create a breezy, faster paced and risk-free entry. Mainly created as a challenge and for a laugh.
-The hearing at the Federation headquarters serves as a pre-title sequence
-Kirk and Spock’s talk on the Klingon ship removed after Savick leaves
-Time Warp dream sequence removed after the Bounty slingshots around the sun
-Double Dumb-ass on you removed
-Cadet review mention removed
-“Is that a lot?” removed
-Spock and Kirk talking on the bus minimized
-Yellow Pages scene minimized
-Checkov and Uhura asking about the naval base minimized
-Spock mind-melding with the whales cut, Kirk and Spock no longer get in trouble with the biologist
-Scotty does not play around with the computer or mouse
-Checkov is no longer arrested or falls and sustains injury
-Hospital rescue of Checkov cut
-Return home minimized to omit second rescue of the whales and shots of Checkov
Edit is available on google drive. PM me for links
I have a copy, but it’s an outdated version
I might be remaking this edit to include the recently released Shattered Grid trailer
Peter’s sting operation without Tony interrupting him
The world of fanfilms produces just as many examples of Sturgeon’s Law as fanfics and official media do…and some online communities let them know it. Such is the case with Power Rangers.
Over the course of this decade, a wealth of Power Rangers fanfilms have circulated, each of their own varying quality…but the one ccmmon theme that binds them together is that they’re all…pretty grim.
Which is fine. Perfectly fine. Power Rangers for all it’s cheese-ball presentation is essentially a story about the youth being recruited by higher powers to fight a large-scale war, where the villains know their civilian identity and can target you, your school, your loved ones. It’s pretty scary, and you dwell on the consequences of that a lot more as you get older, when you’re faced to put up with real wars on the news day in day out, sometimes even participating in a few yourself. The reality of Power Rangers makes for a harsher reflection of our own world.
The fandom can’t really take to this though, they just want fun goofy escapism, so any attempt at creating a near-the-knuckle product outside of their conventional perimeters is often met with disdain and dismissal…which sadly doesn’t leave much elbow room for projects like this.
Fortunately, I’m a broad enough chap to be open about the possibilities, and there’s enough of this material out there to put together a nifty little “proof-of-concept” pilot. A friend of mine, DANLAV05, put together a pitch pilot edit for a CW-led Power Rangers spin-off called “Wrath of Zedd”, which I contributed some small suggestions to. The edit is a lot of fun, comprised of various non-official PR material.
My intention, inspired by his edit, was to take it to another level. While he aimed at a teen audience, I’d aim for an older demographic, which meant using the material that included graphic violence and profanity. To this extent, I had to use much of the Power/Rangers fanfilm to stitch together a cohesive narrative.
This means the only Ranger that represents the original character is Jason David Frank as Tommy in the Super Beat Down videos where he tackles Ryu and Scorpion, where as Kimberly, Rocky and Jason are represented by different actors in their respective segments.
I opened the edit with Kimberly being captured on her wedding day from Power/Rangers…for the purpose of this edit, the man she’s married is not meant to be Jason.
Here’s the remainder of the timeline
-“Double Trouble” short from the aborted MMPR fanfilm project
-Back to footage from Power/Rangers showing a derelict city, which transistions us smoothly into
–Footage from the MMPR Fanfilm’s trailer with Lord Zedd
-Cut to footage of Zack taking on the Koreans from Power/Rangers, followed by Kimberly’s interogation
-Have Kimberly’s narration transition us to the Ryu vs Tommy beat down footage
-Briefly cut away from Tommy vs Ryu to more from Kimberly’s interrogation, and some more footage from MMPR
-Back to Ryu vs Tommy
-More from the MMPR fanfilm shorts (the one with the hacker finding the Project_Ranger files)
-Back to Kimberly’s interogation
-Cut to Tommy vs Scorpion
-Cut back to Kimberly’s interogation
-Cut to Red Rising fanfilm to show what Jason’s been up to…and there’s your cliffhanger
There you have it. HBO’S Power Rangers pilot…coming sometime never
The aspect ratios were a particular pain in the ass to sort out. To get the best results I had to stitch the edit together in 4/3
Anyhood, I have this availible, so PM me if curious
I’m currently putting the finishing touches to a 1hr, 57 minute cut of Captain America: Civil War. The edit includes the following changes
-Film now opens with Tony talking about the holographic technology
-No romance/flirting between Sharon and Steve
-T’Challa’s introduction as a vengeful Black Panther is not foreshadwed. Scene with Natasha after the Vienna bombing cut.
-Alternative introduction to Peter Parker using Spider-Man: Homecoming footage
-No split between Tony and Pepper (there’s a very good reason for that)
-More mystery to Zemo and his motivations, we only truly learn the extent of his scheming when the characters do
-New mid-credits scene using Homecoming footage.
You can always check out Whoflix’s edits of Journey’s End and End of Time…they’re not combined but they do address a lot of the problems
I loved the Hey Arnold Jungle Movie. I thought it provided adequate and emotional closure to the show, there were a couple of things that bugged me though, such as Eugene’s unnatural allergic reactions and Helga being rude to Arnold at the tail end of the movie after they had finally kissed. When it becomes availible on DVD, I intend to go in and minimize Eugene’s scenes and end the movie right after Arnold and Helga kiss in the temple.
Pilot: Extemis Edition now complete. Screeners are available.
are you telling us that youre going to tackle this project?
It’ll be something to do for Christmas I imagine.
“Out of Time” is largely thought of as the last of the “good” outings for the boys from the 'Dwarf. It was the final episode written by both Rob Grant and Dough Naylor before Grant went on to pursue solo fortunes and Naylor was left with keeping the franchise afloat for as long as it could remain profitable, and it’s an engine that’s been kept running ever since. Whether or not the ship has sprang a few leaks or not is a matter for subjective opinion with the long serving fanbase.
But let’s get back to when one era ended, and how it was resolved with an era about to begin. “Out of Time” began a four year hiatus for the show, and ended in dramatic fashion with the crew seemingly killed by their future selves after a skirmish. It would not be until 1997 where we learned the conveniently convoluted explanation for their ongoing survival in a small pre-titles prelude before beginning an entirely different adventure.
It is with this prelude in mind that I decided to tinker with a minimally different edit of “Out of Time” by taking the series seven epilogue and having it work as linking material to the unedited and complete episode. Lister introduces us to the story as soon as he says “see attached” and chimes back in shortly after Starbug’s destruction to explain everything else.
Better than Air Belgium? I’ll leave that to the subjective opinions of the audience these edits are made for…your fine selves.
By the way, they’re in space.
VERSION II CHANGES
-Video journal moved to pre-titles
-Everything about reality bubbles and Lister as an android removed
-Series VII titles used instead of Series VI
PM me for links.
ChainsawAsh: Correct. It just ends with Rose looking dumbstruck at the TARDIS dematerilizing
Doctor M: All I did was add most of Night of the Doctor after the titles, cut it just as his regeneration is triggered by the elxir (when everything fades to white around Olla, we cut to the opening scene of “Rose” in space with a caption reading “sometime later”), after that, the only other edits are to avoid additional production credits, as well as the ending where The Doctor just leaves Rose behind.
I don’t see what was so hard to understand about any of this.
Cast your mind back to 2005…simpler times and simple pleasures. Russel T. Davies re awoken the sleeping giant of science-fiction with a modest and whirl wind reinvention of Doctor Who starring Christopher Eccelston as the Ninth Doctor and Billie Piper as Rose Tyler, who became essentially the show’s quintessential answer to Gwen Stacy…only without the satisfaction of a bridging.
For that first year, many fans questioned where things would go, it would not be until “Dalek” where we learned who was involved in the last great time war (I, being a book nerd, thought they were going to make the recently folded war with Faction Paradox canon to the tv world), other questions were whether or not Adam would turn out to be Davros because of his ‘third eye’ (yes, erratically preposterous fan theories were running rampant even back then), but the most crucial question on everyone’s mind…was what had happened to Paul McGann’s Eighth Doctor?
There didn’t seem to be an answer. Doctor Who Magazine at one point offered to reveal how he came to be Christopher Eccelston with the planned conclusion to their final Eighth Doctor strip adventure “The Flood”, something RTD even encouraged, but the BBC had the final say and did’nt want Eccelston to be glimpsed before transmission, so the idea was quietly dropped and the strip adventure ended on a homage of sorts to “Survival”. I remember being quite vexed at the time about it, as there were still loose ends from that era still to be tied up…though that would be (partially) remedied in later years with the new series Doctors.
We did’nt get a concrete answer until the 50th anniversary, seven years later, in the “Night of the Doctor” minisode, where the Eighth Doctor tries in vain to save someone who despises his race and stays with her ’till the bitter end…only to be given a choice by the Sisterhood of Karn to become a being who could tip the balance in the ongoing time war. He chooses to be a warrior, a Doctor no more…we come to know him as a Doctor of war.
It wasn’t Eccelston though.
In a convoluted fashion that can only come about when a reluctant actor doesn’t want to dip his toes in the same lake twice, Eccelston was replaced in the special by John Hurt, and the special tied up the remainder of RTD’s influence on the show in grandfatherly fashion. Eccelston had to make do with archive footage of him being used in the sequence where all thirteen Doctors save Gallifrey.
Fans opinion was mixed, some did not take to the fact Mcgann was shafted by the 50th and did’nt get to participate in the time war at all, others could not adapt well to the concept that Eccelston was not even the Ninth, but in actuality the tenth incarnation of the time lord, bumping Matt Smith up to the final incarnation. Some thought the lineage of the Doctors had become slightly more complicated than it need be.
Some cried out for simpler times.
Took a few years but…wish granted.
Cast your mind back now to 2005, where the Eighth transitions to Nine in just under a few minutes, sit back and enjoy Eccleston’s first adventure all over again…oh, and this time, let’s leave Rose Tyler behind shall we?
Physician heal thyself
Edit available…PM me
Pay him no mind. This edit is vastly superior.
Thanks for your interest. I should have it up soon. I still only have the workprint though
Doctor Who Series Ten as I would have it. A series without unnecessary mystery box teasings, under utilized guest stars, new episodes for Michelle Gomez to chew scenery in, a series with maybe even a few twists and turns in established stories, some stories may even be out of transmission order. So many options as time is rewritten and scenes are re-edtied.
We’ll start with ‘‘The Pilot’’
The following details contain SPOILERS for the series and the edit:
You may find it begins not at The Doctor’s study…but somewhere a lot more distant, both in time and space…on a planet of professional executioners…that’s right, we’re getting the Vault mystery out of the way right off the bat. This is all of the Missy scenes from ”Extremis” repurposed for ”The Pilot”, we cut to the credits just as Missy urges The Doctor to let her live, and from there we find a chap at the door…Bill’s door, as her friends are out house-hunting.
That’s right, the first few minutes of ”Knock Knock” a fun but immensely flawed entry in series ten, pops up in this one too, setting up the events of a future edit, and making a recurring guest star out of David Suchette’s Landlord character.
From there, we cut back to Bill attending The Doctor’s lectures, we don’t need her being formerly introduced to him, all we need to learn is he’s her tutor and that’s it.
While she has selected a new house with her friends, it’s still going to take her a while to move, so don’t worry if you think she’s forgotten about her new digs.
After we pop over to Puddle Lane [god, whoever will get that reference?] after it locates The Pilot, we breifly go back to Doc and Missy before we check in on christmas with the crank and Bill, and from there the episode proceeds as normal until Bill arrives in a panic at the campus. Heather ripping off the Midnight monster and padding out screentime is cut and Bill makes a bee-line for The Doctor’s study.
From there, the only thing left to cut is the trip to Australia, and then most of the episode is the same, save for the conclusion of the Extremis spots right after Bill notices her tears. We conclude our edit with footage borrowed from ”Lie of the Land”