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I toyed with that idea once upon a time. I’m sure someone can dig up my mockups (just images, not in motion).
Allow me to explain myself. Rey was left on Jakku at an age where she would have a clear memory of her parents.
Ergo ipso facto, she got hit on the head.
I understood what you meant. That’s not why I said WTF.
WTF?
I seem to remember George talking in the TPM doc about how excited he was about digital editing because he could do exactly that kind of thing as much as he wanted and didn’t need to get things perfect within one take.
As someone who’s taken to waiting until a season is finished before even watching the first episode for 90% of the show’s I watch…this news really sucks.
Aw, really? Damn it.
FYI, Disney+ (the streaming service in question) debuts in November, and I believe The Mandalorian is supposed to be available on day 1.
Well said, Nev.
Now JJ is back, and is scrambling to do something with Palpatine because he can’t use Snoke anymore. This back-and-forth is leading to successive films where the narrative elements are working against each other, rather than helping each other tell a grander saga.
I don’t think that’s fair. It’s really pretentious to say JJ is “scrambling” to use Palpatine. You literally have zero idea on how he will be used narratively. And you’re just assuming JJ needs to replace Snoke because Rian killed him off. That way of thinking is why fans will hate 9 regardless of quality.
Quoted for truth (emphasis mine).
I honestly disagree with both of those points, though the second has a significantly stronger argument.
Going out on a limb here, I know, but I’d say some 2011 changes like the rock in front of R2 would be a pretty good indicator.
Congratulations on the house! I just moved myself (still renting though), so I know how badly that sucks. Hope you get settled in quickly and can take some time to relax in your new digs!
If you were going to comment about it in this thread anyway, why did you make a new thread about the same thing?
I’ve seen every 1997-present Star Wars theatrical release in theaters, minus The Clone Wars movie, TPM 3D, and Solo.
A lot of what he does involves mixing in lower quality sources, but making it look seamless. And I’m not talking about the GOUT, I’m talking about stuff like cloud background plates on Bespin, explosion elements in the Battle of Hoth, new CGI that takes time and resources to render at higher resolution, etc., not to mention newly filmed live action elements. These elements blend well enough at 720p, but at 1080p the seams start to show (I believe he did tests for ESB:R to determine this), and it would just look bad at 4K.
For what he’s trying to accomplish, 720p is what he chose to commit to as the most ideal balance. 1080p will not happen, let alone 4K.
That’s really reaching. Even more so than the “Mark Hamill Hates TLJ” bullshit.
Yeah, I’m gonna pass on V6. :’( Too much material that’s irredeemable to me is back in now.
I still think V5 is the best Episode II can possibly ever be for me. I might download V6 just to patch the technical issues fixed for it back into V5, but I just can’t bring myself to give it a chance with the droid factory, diner, and “don’t look at me like that” even if the other improvements are worthwhile.
no you can just see he goes from getting ready to actually acting.
You’re joking, right?
It’s a shame they never got to finish that part off for the special effects, instead they filled it with people looking around.
Wow, seriously? Okay, tell me. What was supposed to go there?
Something like this…
It’s part of the film now… But it would be nice to see what they had for that part. Actually the Shot of the escape pod flying towards camera in the film is from this part that is missing but they moved it to when 3p0 and R2-D2 are in the Pod. I imagine they never had it all sorted like other effects shots missing stuff it was very difficult what they were doing.
Either way what I think the 93 laserdisc has on Extended Soldier footage is that it is more de-saturated and that is what works in it’s favor. In the rest of the footage not so much perhaps.
Ronster, dude, you used to be on to something but you’re reaching so much lately. Those shots are part of the edit, they were chosen deliberately to illustrate the apprehension of the soldiers as the Empire boards their ship, which in turn makes US more anxious to see what these invaders look like.
If you want to suggest fanedit ideas, that’s fine, but these wild presumptions and assertions don’t help anyone.
He let it go months ago, don’t get him started again! 😂
I thought ESB and ROTJ were still the “4.2” six-track?
Create fake ‘mono mixes’ for the other movies by changing arbitrary things and releasing in low quality.
I thought this was the worst ideas thread, not the BEST IDEAS EVER thread!
Hey guys - I finally finished a project!
So for anyone who doesn’t know, Neon Genesis Evangelion was added to Netflix on June 21st…but with an entirely new English dub, mandated by Studio Khara (the rights holders/producers of the Rebuild of Evangelion movies) after they were displeased with the Funimation dub of Evangelion 3.0.
I’m not going to get into the pros/cons of the new VSI-produced Netflix dub versus the ADV Films dub from 1996-2004 beyond to say that I quite like the new VSI dub…
…except for the fact that Netflix wouldn’t pony up to license “Fly Me to the Moon” outside of Japan, various covers of which play over the end credits to every episode and instrumental covers of which play during scenes in two episodes. Instead, a different instrumental track from the OST plays during the credits, and the in-episode uses are replaced by silence or droning cicadas.
So I took the 5.1 Netflix English dub, tracked down 5.1 rips of the Japanese Netflix audio from Japan (Fly Me to the Moon is included in the Japanese Netflix release, but not the Japanese track in US’s Netflix), and used the unaltered Japanese audio to “patch” in Fly Me to the Moon in all appropriate areas.
For the two in-episode uses, there are a couple unfortunate caveats.
In the first, the new English dub adds strong cicada audio effects to fill the void, since there weren’t any sound effects in the Japanese and original English dubs when the music plays. It’s present in the center channel of the new English dub, too, so I couldn’t just get rid of it entirely. So I gradually bring down the cicada effects in the rest of the channels as the music gets stronger, until the dialogue stops, at which point I fade the cicada sounds out entirely and it’s all music, like it should be.
In the second, a character is crying, and when the camera cuts to another character, the crying shifts to the left channel. This means whether I use the Japanese audio or the original English dub, the voice actor who’s crying changes, and it’s very noticeable between the two English tracks and only slightly noticeable with the Japanese track. So I tried to seamlessly shift between the two as best I could while keeping the music intact. When another character starts speaking in the center channel, I had to fade the channel to silence between lines of dialogue so you don’t hear two different voice actors crying, one in the left channel and one in the center, at the same time. You can still hear a little bit of overlap, but it’s not too bad.
Now, I don’t have a 5.1 setup, so I can’t guarantee it’s as seamless in surround sound as it seems to be in stereo. If anyone listens to these on a 5.1 setup and think it has issues, please let me know and I’ll do my best to address it and make it right!
I will not provide full episodes, only 5.1 AC3 448kbps audio tracks. You’ll have to mux the audio in yourself. They sync to the Japanese Blu-Ray release, but Netflix uses the same master, so they should sync to that, though they’ll probably need a delay of 24 to 28 frames depending on the episode (based on how I had to shift the audio rips to sync to the Blu-Ray).
Please PM me for the link to these patchrd audio tracks if you’re interested!
So…
A little birdie told me the 70mm print is from 1984 so it shouldn’t have the fade…but it is definitely the original film.
So I’m guessing that means no original crawl tho? And would the mix be the same as a 1977 70mm print, or a more refined mix closer to the mono?
I’d be surprised if it was anything other than a duplicate of the same 70mm blowup master from 1977, so it should have the same sound mix and the 1977 crawl.
I’d guess a print owned by the Academy of Motion Picture Arts and Sciences.
That or it’s in Academy ratio, which would mean a pan and scan print since SW was filmed anamorphic. ;P
Vlad, you should definitely check out some of the more technically proficient TLJ edits that are out there. ForceGhostRecon’s sounds like it might be the most up your alley from what I’ve seen of it, but I haven’t actually watched it myself. I’m a huge fan of Poppasketti’s edit, but that one might not go far enough for you.
Surprised no one posted this update from Harmy on his YouTube channel from last week, unless I missed it:
