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Cameron Samurai

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Teenage Mutant Ninja Turtles: Turtles To The Second Power: Finale Cut (Released)

The team-up between Dregg, Shredder and Krang should have been the finale, it tied up virtually every loose end, even Carter. Had the last part of that arc ended with Splinter telling the Turtles they had ‘graduated’ then it would have been perfect.

So that’s just what I did. Took the last scene of the actual series finale “Divide and Conquer” and integrated it into the episode “Turtles To The Second Power” to serve as a more fitting conclusion to the original series.

Also, the actual final scene of “Turtles to the Second Power” annoyed me, it doesn’t end on a punch line or something from the Turtles, the last word goes to Carer, he is transported to the future and then it just abruptly ends, so the new ending I find adds a lot more closure to things.

Men In Black: International Incident (Released)

This edit is based off of ideas by Hadam10Rose (mainly just the ending with T being the good guy) and a lot of other tweeks by me.

The edit is 1 hour, 23 minutes (plus credits) and includes no mention of the mole sub plot, now the weapon is kept from everyone because of M’s inexperience as an agent, and she learns to trust MIB only at the end (this stems from her childhood when she kept the alien safe), I also removed any scenes with her as a civilian and we’re introduced to her as an adult when she is recruited into MIB.

Hemsworth’s character is a lot different, his bungling has been scaled back quite a bit, now he’s more of an egotist who got lucky that one time he saved the world from the Hive, and needs to prove himself. Liam Neeson is now merely a long-suffering mentor who’s faith in H is tested, and then has his fears quashed the more the mission goes on. Lastly, there is a brand new ending that still involves the flying car (the scene where they first use it, in the original cut they’re on their way to stop T, but in this edit they’re using it for yet another mission)

I wanted to use footage from the NBA promo trailers but they proved to be too long, unfunny and made H look really dense.

Sherlock: The Reichenbach Fall: "B*llocks Edition" (aka The Sherlolly Cut) (Released)

Over time, I’ve come to look down a little on series three and four of BBC’s Sherlock, even if they are the basis for three very well-received edits of mine (Little That Remains, Adventure of Cam, and The Lies of Sherlock), they, to me, feel like the encore performance of an exhausted choir who have played all of their big hits and probably should have packed up and headed home by now.

Taking a few things here and there from “The Empty Hearse” I have created “The Reichenbach Fall: The B*llocks Edition”, or, for anyone who likes to romanticise, The Sherlolly Cut, where I’ve made Anderson’s theory at the beginning of Empty Hearse official as the climax to this particular story, and thus canonising Sherlock and Molly, with Sherlock hanging out with her in exile, the edit ends with Sherlock looking to get back into the game after two years of laying low, he wants Molly to help him, Molly wants dinner…and we leave it there at that. The end. Toss seasons three and four aside, and go down with this 'ship!

Star Wars: <strong>The Rise Of Skywalker</strong> Redux Ideas thread

With hindsight, I probably will end up rendering my Last Jedi fanedit “non-canon” in my trilogy and just leave that middle portion alone (you can pretend Han is alive throughout it though) and focus on book-ending it with “The Ford Awakens” and “Rise of Skywalker”

Here’s my outine

-Movie opens the same way, only with Palpatine’s fortnite message playing over the massacre that Kylo leads
-After The Emperor talks with Kylo, cut to the Falcon arriving at the first port of call in the Wayfinder quest with Rey and the others. Cut out Rey training.
-Cut a reference to Han being killed when Rey and Kylo bridge minds
-Cut Rey and Kylo’s lightsabre duel in Kylo’s quarters. 
-Try to keep Chewie’s fate unknown to the audience until Rey senses him on Kylo’s Destroyer
-During the Death Star duel, Leia contacts Ben, Rey wounds him, Leia doesn’t die. Felt unnecessary to drain her life force just to give him a phone call
-As noted above, cut C3-PO getting his memory restored. CONSEQUENCES
-Cut Kylo entirely from the final battle with the Emperor. Now when Rey defies Palpatine and puts her sabre away, he tries to cut her down in anger, the Jedi tell her to rise and she destroys him
-Conclude the film with Rey and her friends heading out into a free galaxy, Leia knows Rey will return one day once she figures herself and her powers out, they embrace one final time
-End the movie on Kylo at the Death Star ruins reuniting with Han and throwing away his lightsabre. The Skywalker line lives on and is redeemed

Any thoughts on this?

Star Wars: <strong>The Rise Of Skywalker</strong> Redux Ideas thread

I might hold back revealing Chewie is alive a bit longer, so we learn he’s alive when Rey and the others do.

After the Emperor talks with Kylo, I’d suggest cutting from that to the Falcon arriving at the first stop on the journey to find the wayfinder, dropping all the info dumping at the start of the film with the Resistance and trusting what we see in the initial crawl.

Now, this works fine for me, because I left Luke alive at the end of my LJ edit, so I can keep the line “this is the co-ordinates master luke left us” to indicate he’s helping the resistance (and then use footage of his death from The Last Jedi that I cut so he dies simultaneously with Leia awakening Ben), so I can retain his conversation with Rey later on his island.

The Last Jedi - Total Eclipse of the Spark (starring Harrison Ford!) (Released)

Putting together draft two after test-screening the first with friends and getting pointers

I’ve now removed any and all mention of Poe’s dreadnought gambit, it created too large a continuity error.

-Luke’s “i will not be the last jedi” speech cut due to technical errors, also makes no sense in the context of the new ending.

DVD Cover

The Last Jedi - Total Eclipse of the Spark (starring Harrison Ford!) (Released)

This was not an easy edit, and even in it’s current format it’s not exactly ideal. So far I have a draft prepared that I will make available shortly, right now here is what is featured. There will be spoilers for both this cut and my previous new trilogy cut.

-This is a follow-up to my Force Awakens edit “The Ford Awakens”, where Han Solo survived the events of that movie…due to having zero footage of him to use in the Last Jedi, I had to give him a minimal role in the film. He only appears on-screen once (in the scene where he meets Luke…yes, he meets Luke), and the rest of his appearances are represented by various soundbites from the original trilogy, each carefully selected to connect to certain scenes in the third act.

-The edit has a cold open pre-title scene but does eventually lead into the text crawl

-The entire battle with the Dreadnought has been cut. It shoots on the base, the resistance escape. Later on, Po’s mission to take out the Dreadnought is mentioned by Holdo but we don’t see it, you are meant to assume this happened during the times the pursuit of the fleet isn’t seen

-Luke is already training Rey when the movie begins.

-Kylo smashing his helmet in a rage is cut

-Canto Bight is retained as is Poe’s whole issue with Holdo and his mutiny, largely to make sure the film was of an acceptable length, it’d be 35 minutes long with the amount of cuts I made.

-Third act trimmed so that the resistance don’t take out the main cannon. Luke still arrives and assures Leia this is not the end, and he will not be the last jedi. Film ends on a cliffhanger with seemingly all hope lost and Rei tempted to join the dark side by Kylo.

Plot holes I couldn’t hope to fix:

-Kylo and Snoke’s initial conversation is heavily edited. Kylo has been wounded in battle, but because Rey didn’t wield a lightsaber in my “Ford Awakens” edit, it’s left unclear how he got it. The scene merley serves as a reason to unmask Kylo

-Finn journeyed with Rey and Han to Luke’s island in “The Ford Awakens” but is back with the fleet here, again, this was because I could not work out how to get him off the island or even have scenes with them on the island. Just assume he got tired waiting for Rei to complete her training and went back to help the resistance.

Again, this was largely done to satisfy my own curiosity, if anyone’s interested or has further questions, feel free to ask. I will also have samples shortly.

Superman Returns - Always Around (Released)

Cranked this one out over the course of the week. Superman Returns was one of the earliest edits I ever attempted in my cruder amateur days, and now with more experience and a burst of inspiration, I’ve come up with what I hope is a worthwhile edit that helps make the movie more of a highlight reel for the man of steel and what he stands for than some dreary deconstruction

Changes include

-Pre-titles sequence using the scene where Lex raids the fortress
-Scenes rearranged, which includes inserting the last scene of the movie into a much earlier point, meaning Clark is aware right from the outset that Jason is his son. Instead of learning who he is on the boat, we learn it from Clark as he watches Jason in bed at Lois’ home (yes, I retained Stalkerman for narrative purposes), and Lois and Kal’s first meeting is after he visits Jason’s bedroom.

-Superman’s return to public service occurs with taking out the bank robber

-Lois’ bitchier moments trimmed and lessened so she comes off as more emotionally conflicted…she’s not mad at Superman, just dissapointed, and often wrestles with publishing a new piece about why the world needs him, it was important to place the scene where she can’t type up that piece before she meets Clark outside her home to demonstrate how conflicted she is on her opinion.

-Lois and Richard laughing at Clark cut

-Lex reading the paper skips over the Superman headline for reasons that’ll become clear as you read this cut list

-Clark and Lois’ rooftop meeting trimmed so the tension is lessened, at least until the moment they almost kiss. Lois is accepting of Clarks’ presence and they go for a flyby.

-Clark’s conversation with Martha moved along to just before he heads over to the Fortress to find the crystals missing

-Film proceeds as normal until Clark is hospitalised. Lois visiting him cut because…

-After Clark awakens, we cut to the new ending…the shuttle rescue

-Flyby over the earth trimmed significantly to properly synchronise with the music after Clark takes off from the stadium. Lois fainting cut.


password to view: fanedit

Edit should be available sometime in the coming few days. Will update when it is.

Batman &amp; Superman: Justice (Released)

DC’s Rebirth was a near perfect example of what happens when a comic company, in this case DC, actually benefits from reconstruction rather than deconstruction. A lesson Marvel Comics have even learned lately, hence the spirited resurgence in their own comics.

Naturally, Rebrith didn’t last, the reconstruction didn’t last, and thus we’re left with more dispiriting titles where pain, isolation, detatchment and lonliless appears to eat away at the heart of every hero. If all titles are the same, what little point is there investing in variety?

In this, the second of my two Batman v Superman edits (the other, Superman: Dawn of Justice, can be found here), I intend to honour Rebirth by going back into the movie and taking out any attempt at a fight between god and man. Here, Bruce is wary of Clark, but is willing to give him a chance, he is not easily fooled by Lex’s manipulations, not even when you think he’s about to. Thanks to a handy online voice distorter, I worked out a way for Bruce to become aware of Lex’s plan without having to drag Clark and Bruce into a fight.

Clark also doesn’t decree that Bruce might have to die. He’s Superman, he’s not going to consider the worst case scenario, he’s going to use his common sense and appeal to Bruce’s humanitarian side despite how he might personally feel about him.

No Doomsday, no fight, no arrest for Lex (because everyone who could connect to him is dead), no league, all we have is justice dealt with by the world’s finest acting in tandem. Hopeful, and heroic.

As for what the sequel hook is, well, I hate to be of those edits that leaves out the Knightmare sequence like every other edit does, so it’s used here as motivation for him to go all “Tower of Babel”

Running Time: 1 hr 41 mins

This edit is available to view now. PM and request.

Men in Black - Mission : International (Released)

This edit needs a lot more work than just a sound modification, lots of hard cuts with minimal if no transitions to cover the joints, some parts were out of synch, the use of “Black Suits Comin” didn’t completely drown out the established background music in the suit-up scene, there’s a bit near the end where K is clearly saying something but we miss what it is entirely.

It has legs though, the ideas are strong, and if the cuts could be smoothed over, I think you’ve definitely got an improved movie here, something more in line with the spirit of the original movies, and T saving the day is actually a much better ending and shows how flimsily tacked on the original climax was.

So yeah, cut it together a bit better and you’d be good to go.

Avengers: Cosmic Quest (a WIP)

(contains spoilers for the movie)

The intent is to create an Avengers edit where there is only one casualty (Widow), Tony living, less moaning from Thor the focus is chiefly only on the core Avengers and their few allies.

The main beats:

-We open the movie with the support group, five years have already passed. This is largely because I want to present Thanos in this movie at peak efficiency rather than open with him in a weakened state, besides this version of Thanos’ fate is reprised later in the film when Thanos is looking through our Nebula’s data records.

-Lots of little nips and tucks to reduce humour or otherwise humiliating moments for Thor, though I had to keep in his spiel when discussing the reality stone. A little of his reunion with his mother is left intact to maintain his arc in Asguard but other than that, it’s “get in, get out” without much fuss.

-In the final battle, it is Steve who defeats Thanos using Thor’s hammer, the defeat comes before any of the other heroes can arrive.

-Footage of Tony and his daughter in the forest outside his house repurposed for the end of the movie, it also connects pretty nicely with the scene where Cap readies himself to return to the branched timelines with the stones.

-End credits trimmed seeing as not many of the heroes make it into this cut