DrVibble

Thanks all for the response to my reviews! Glad to contribute even in a small way to this community; it’s just great to see such talented people working on projects like this.

And @TestingOutTheTest: I have never heard the name Doomcock, and I value academic analysis too highly to base the entirety of my opinion on a matter on the words of a single subjective source, especially one you insinuate is quite biased.

Just finished the edit, and I simply couldn’t wait to share my thoughts.

Good Lord, this edit was amazing. While I had some technical problems with it, those are mostly moot given this is still a WIP. But as for what you did with the story, I was astonished.

I have lots of thoughts, so I’ll go through the film chronologically (sorry in advance, it’s a whole lot of reading…)

The first act has so much more atmosphere and mystique. Recolouring Jakku was a great touch, giving the planet a far more unique feel. Leaving Rey’s introductory sequence to be entirely wordless up until BB-8 was a great idea, further augmenting the atmosphere. The added voiceover in Poe’s interrogation worked very well, though I feel the scene might transition out more cleanly if you kept Poe’s scream, just reduced in volume and maybe with some echo/reverb to blend it with the voices. Moving up Kylo and the Vader helmet completely recontextualises the scene; though I’m a little on the fence about how well it flows from the previous scene - the shift in atmosphere and energy is a bit abrupt - it adds an amazing aura of mystery around Kylo, and his connection to the Supreme Leader and Vader. It also flows brilliantly into the next scene; we think a stormtrooper is coming so Ren can ‘finish what he started’, but nope, it’s actually Finn come to rescue Poe. Great subversion. The general rearranging of the first act was excellent, giving a much better flow to the introduction of the characters and how they all connect to drive the main plot.

Removing BB-8 divulging the location of the Resistance Base definitely works well story-wise, though the scene came across a little clunky; Rey goes from asking where the base is so she can drop them off to saying she’ll drop them off somewhere else for them to make their own way, and I felt the beat of BB-8 doing his ‘thumbs-up’ was a bit too long, which seemed out of place in the energy of the scene. Still, changing the plot point definitely improves the overall flow of the story, and clears up why they need Maz’s help. (I guess you could rationalise Rey’s change of plans as her remembering her priorities, which would give credence to Finn’s surprise and immediate “What about you?”). The rathtar sequence was much improved; the newly darkened lighting was a great addition, and it definitely feels a lot darker and more horrifying than before. Snoke and Kylo’s new conversation was very effective; it builds up the mystery around Kylo very well, showing that these two know things that we don’t. Polishing up the cantina/castle sequence also worked nicely, and I loved the addition of Luke’s TLJ lines to Rey’s visions of Kylo.

The addition of Rey going to the pirates’ ship to join Finn was brilliant, and I felt it was executed seamlessly. The addition of the Sith whispers when she shoots the stormtrooper worked brilliantly; I loved the through-line across the edit that Rey taps into the Dark side whenever she uses the Force. The small changes to the Battle of Takodana were great; the re-edited ending with Han, Finn and Kylo felt a lot more compelling and dramatic. The interrogation of Rey was quite surprising; I really like what you were going for with the reduced lighting, but I felt it was a bit too dark, and there was way too much contrast, leading to it feeling unnatural, and at odds with the rest of the film’s visuals. In some shots Kylo’s face looks incredibly blue/purple, and it doesn’t feel like lighting from the room. Nonetheless, reducing the light of the scene makes it far more sinister, especially Kylo’s face reveal. Snoke taunting Kylo by calling him ‘Solo’ serves as a great confirmation of the suspicions about him built up to this point, and despite not being directly prompted, it actually still fits the scene; after Kylo says he needs Snoke’s guidance, Snoke using his real name works as an admonishment of his failure, shaking his confidence to test him. I did feel it transitioned out of the scene a bit too quickly, not giving this momentous reveal enough time to properly sink in, but otherwise it works very well. Han and Leia’s re-edited conversation was a nice surprise; focussing it more around them than Luke and reducing the overly direct exposition made the exchange much more powerful.

The transition from that convo to Hux’s impassioned speech felt a bit jarring (not sure if it was the music or just because I’m not used to that placement of the scene), but in terms of the flow of the scenes it did overall work nicely (the reconnaissance report about Starkiller Base arrives, we transition to the Base readying to be unleashed, then to the plan to destroy it). Leia’s line in the meeting “The Senate is the next target” feels a bit incongruent; since the weapon hasn’t been fired before, there’s no reason to call it the “next” target, though I understand there’s only so much that can be done with the material available. But from here, I found the re-structured third act absolutely AWESOME. I’ve always had problems with TFA’s third act, but this edit makes it so much more tense and dramatic. The rearranging of Rey’s first mind trick was brilliant, and I loved the redone lighting in the first cutaway to Kylo, showing him walking out of the flashing light of the absorbing sun and into the blue of the corridor (though I thought the music over the second cutaway to Kylo was overly loud, and didn’t quite mesh with the rest of the scene). The re-edited infiltration was a vast improvement over the original, particularly concerning Phasma. And about Kylo entering the Falcon: I didn’t even know this deleted scene existed, but its incorporation into the rest of the sequence was seamless, especially the ending.

The addition of Leia and Han’s voices over the final moments with Han and Kylo were very effective; I do feel this scene doesn’t strictly need voiceover, but going from “There was too much Vader in him” to Han’s death was awesome. As for the moved firing of the laser, I’m undecided as to whether I prefer this edit’s version that combines it with Chewie’s detonation or Hal’s original sequence; I’ll have to watch both carefully. Either way, you edited the sequence beautifully, and the impact this restructure has on the film overall is immense. And now we come to my absolute favourite part of this edit: THAT moment with Rey as she taps into the Dark side to overcome Kylo (I won’t spoil the specifics here for those who haven’t seen it, it’s worth being surprised by). I was completely not expecting that, and when it happened I genuinely jumped out of my seat. So damn awesome. My only complaint about the scene was that maybe the music was a bit loud compared to the dialogue, and the rest of the sequence’s music.

I loved this edit. It made me feel like I was watching TFA for the first time; the film felt much less Disney, and much more Star Wars. I particularly loved the first and third acts; the former just felt like pure Star Wars, and the third act felt much less silly, instead becoming a whole lot more powerful, dramatic and epic. Probably my favourite addition to the story was Rey tapping into the Dark side to use the Force. It’s awesome to finally truly see the ‘quick and easy path’ of the Force like Yoda warned of. Even without your plans for TLJ and TROS, this adds a whole new dimension to Rey’s journey throughout those films: TLJ now shows Rey learning not just how to use the Force, but how to properly use the Force, without relying on the Dark side, lending a lot more power to both when she immediately gets attracted to the Dark cave, and her final lifting of the rocks. It also gives far more basis to her struggles across TROS of turning to the Dark side, as well as Ren’s insistence that she belongs alongside him. It even gives more basis to the maligned Rey Palpatine (for the record I don’t hate this counter-twist on a conceptual level, I just think it needed to be planned from the beginning to be actually compelling).

Even though I already love Hal’s edit, this might well have impressed me more. This is the most I’ve enjoyed watching a Star Wars film in a very long time. I can’t wait to see what you have planned for TLJ and TROS!

Hi Hal, here’s another review. Warning; I got a bit carried away…

I loved TROS when I first saw it, and though that impression has soured considerably as I’ve looked at the film more critically, TROS: Ascendant represents for me the best possible improvement for this film without resorting to drastic re-writes/re-structures. I loved this edit to bits, from the major changes to the small touches, and since I honestly don’t know where to start, I guess I’ll just go through the film chronologically.

Right off the bat, the re-arranged opening flows so much better than the original film. Letting the film introduce Palpatine rather than dropping him in the text crawl is way more effective, and the single change of making the cloned Snokes into cloned Palpatines makes his survival significantly clearer, and far more sinister. Transitioning from that to Rey training is a much more effective flow, and Rey’s new vision was awesome (the quick interconnected flash of her and Palpatine’s lightning was super cool). Going only then to Finn and Poe’s mission, with the removed out-of-place chess game, slows the first act down very effectively. Using Palpatine’s speech to replace the maligned “Somehow Palpatine returned.” was also a great touch, though I do feel the speech could be a bit louder.

The many small changes in the subsequent sections were all great; Kylo’s newly independent vision and consequent reforging of the mask was especially compelling. The polished Pasaana sequence was very nice, especially the toned down line from Lando’s chauffeur, and here we also meet one of my favourite changes from this edit; the Knights of Ren speaking. I was frustrated by how much of a nothing they were in the original film, but these few lines of dialogue go a surprisingly long way to making them feel more present. Kuruk’s “I get his teeth.” (Yes I know all six of them by name I’m a nerd) was a brief but very effective characterisation of the Knights as a whole; contrary to the conflicted Ren, the Knights are hunters who enjoy what they do. Removing the immediate reveal of Chewie’s survival also definitely helps, especially if you missed the second transport shown in the wide when Finn sees him captured.

The same as Pasaana, Kijimi was very effectively polished. A small touch that got a smile out of me was Zorii’s muted response to Poe, it just made the whole scene read much better, and characterises the two of them very well. Kylo’s altered dialogue to “You were right.” definitely helped in terms of continuity and logic, but though it’s close enough to pass for Kylo’s voice on its own, next to his real masked voice it’s pretty clear that it sounds different; the accent doesn’t quite match, and it feels more flat. Are there any plans to retouch this line for future versions? I did also find 3PO’s replaced dialogue as they’re flying to the Destroyer (“And I will be your protocol droid.”) a bit weird, felt incongruent with the scene. I also felt his interaction with the trooper was quite clunky, though that’s moot as I see that’s on the list for V2.

Moving on from Kijimi, the recontextualisation of the crash to be on Endor was cleanly executed, and made the Ewoks’ cameo feel less egregious. The Falcon did appear to be moving quite slowly above the trees, though. Another one of my favourite overall changes comes from this sequence: the overhaul of how the Sith dagger works. Not only is this so much more logical than the impossible compass (only a Force-user/Dark Side-user could use the dagger, which raises a genuine mystery about what Ochi does and doesn’t know, what exactly Palpatine’s orders were), it was seamlessly executed; the specific placements of the whispers made it immediately clear what was going on, such that a first-time viewer would assume that was how it always was. Very nice. I also looooved the brief touch of Duel of the Fates during the duel; I’ve seen videos that add a full score to the scene, but the duel’s lack of music has always been one of my favourite aspects of it, both aesthetically and thematically. This brief, non-intrusive motif hit the perfect middle ground, and was a great addition. Adding that quick shot of Han’s medal was also a great touch; I always wondered where that trailer shot went, and it works well here. The re-ordering of Rey’s healing of Kylo felt more natural, and really highlighted the actors’ great performances in that scene.

Removing the destruction of Kijimi, as well as the planet-destroying nature of the Sith Fleet, definitely helped the film, even if it did hurt the pacing of this sequence a bit (this is unavoidable though). I also really loved Rey and Luke’s trimmed conversation, it feels so much more organic than before, and really highlights the themes at play in the scene. And the change of Leia’s saber to purple was just BEAUTIFUL. I read a while ago about Carrie Fisher’s preference for a purple saber, and I immediately wondered why they didn’t grant it considering how much else they did to honour her throughout the film (probably just because blue is more basic and matches Luke’s saber), so this was an awesome change to see in live-action. I will say I think I can spot some leftover blue colouration whenever Leia’s saber clashes with Luke’s, but maybe it’s just my imagination, and given the complexity of the VFX it’d be totally excusable.

And now to the finale, which might be my favourite part of the edit. I loved everything from here to the end of the film, especially the new colour grade. One of my favourite small touches was again the lines from the Knights; Ushar’s sarcastic greeting of Ben was great, and Cardo calling him “Traitor!” genuinely got a laugh of joy out of me, such a great touch (on a side note I’m not 100% that those are the ones who were speaking, just going off the order they appeared in). The mass of voices when the new fleet arrives made the whole scene so much more powerful, though I do feel the “For Skywalker!” charge slightly lacked emphasis; maybe some more emphatic voice lines could help?

The defeating of the Emperor was simply awesome. Adding Leia’s trailer line to conclude all the Jedi voices was such a good touch, one I was surprised to remember wasn’t in the original film, and holy goddang it were those four ghosts awesome. It just concludes the film and the saga as a whole so much better to have these five greatest of Jedi work together to defeat Emperor Palpatine, and it also makes it much more visually clear what’s going on. When I saw this for the first time I do not exaggerate when I say I was jumping in my seat.

The denouement of the film was great. Moving the chess scene to Tatooine is not only a far more appropriate place for it, it just makes the ending so much more heartwarming. I watched that scene probably half a dozen times back-to-back just because it made me smile so much. It also concludes the trilogy so much better, with the new trio, Chewie and the Falcon united. The double rainbow over the house was a great touch from the documentary. And for the every end: seeing Ben alongside Luke and Leia was just perfect, fixing as best as possible the glaring problem of TROS that we never get a time to mourn Ben; Rey’s new delivery of the final line was so much more powerful than the old one, even if it was admittedly a bit too visually clear that it wasn’t from the finished film; and the very final shot of the film with the new music was a far, far better close to the Skywalker Saga.

Needless to say, I absolutely loved TROS: Ascendant. It’s what TROS should have been from the start, and will absolutely replace it for me on subsequent watches. (Additional thought written a short while after the bulk of this review: The biggest overall accomplishment of this edit, for me, is giving the film a more compelling beginning and ending. Those are the two most important parts of any film, and though the middle parts of TROS are to an extent unsaveably messy, the improved opening, climax and denouement of TROS: Ascendant leave a much better taste in the mouth overall).

This edit, and the rest of the 9000 Saga, are truly awesome pieces of work! They genuinely made me interested in SW again after the ST’s divisiveness and the drama over Lucasfilm, The Mandalorian and Kathleen Kennedy started driving me away. You’ve all done an awesome job, and I can barely wait to see the future versions!

Hi Hal, onto my next review.

For a long time, TLJ was one of my favourite films of the saga. I just loved its themes, its characters and discussions. Over the years I’ve looked at it more critically, and can no longer ignore its many problems, but I still feel that its themes and ideas are compelling. Thus, I quite enjoyed the conservativeness of this edit.

In terms of the larger changes, I felt the removal of the Fathier sequence was a very welcome cut, and makes the film feel far more efficient, both in its plot and in how it handles its themes. The other structural changes were similarly effective; moving the Luke/Yoda convo to just before Crait, after everything has gone wrong, makes it much more powerful. It always felt a bit too out of place in the original. I will say I found the musical transition from Kylo choking Hux back to the island a tad abrupt, though maybe future watches will help. I also felt that the cut from Luke staring after the Falcon and stepping offscreen to Finn and gang in hyperspace is a prime candidate for a right-to-left screen wipe, just from the direction of movement of both elements, though perhaps the shot of Luke is too brief to make it work.

The way you handled the humour was also very effective; I loved how you re-cut the opening joke with Hux and Poe (I always felt Hux’s delayed “Hello?” was the best part of the joke, brilliantly delivered by Domhnall Gleeson, and combined with his little speech playing on the tinny radio, ending the gag there makes it way funnier). I also appreciated that you didn’t remove the Force-leaf gag, as I never found that one cringey (I actually find it kind of endearing, and a meta-commentary on how counter-intuitive the mystical ‘Reach out with your feelings’ really is). The removal of the Caretakers was also welcome; they aren’t missed from the film at all. Though I do usually chuckle at the gag of the training rock obliterating their little wagon, just because it’s so well visually executed, they definitely detracted from the tone of the film and the scenes they appear in.

Another change I loved was the couple of deleted scenes you added to the first act (Luke in the hut and Finn getting his jacket back). They set off both characters’ developmental arcs on such a better note than before; we see that despite Luke’s grumpiness, his decision weighs heavily on him, and the brief talk with Finn and Poe establishes his hesitance to join the Resistance wholesale on a far more compelling note, making him seem less traitorous. The scene immediately felt to me a lot more like the Finn from TFA, which greatly helps his arc through the rest of the film. The quick deleted scenes later were also effective; the brief scene of the three in the lift was much more effective than the iron spaceship gag, and though I found the exchange in the shuttle a little clunky (hence its excision, I suppose), it was a good character beat, and solid development for Finn. I was admittedly hesitant at first for Phasma to have such an offhanded death after her dramatic return, but this is a much more effective moment, both for pacing and for Finn’s character.

Overall, I very much enjoyed TLJ: Legendary. It gives the film some much-needed fine-tuning, letting the underlying story shine stronger through the many cracks of the film’s clunky writing. I will admit that I think I enjoyed poppasketti’s TLJ: Rekindled a bit more, just because it goes a little further and has some extra teases of Palpatine, but I think I prefer a more conservative approach to this film than a hugely drastic one. Another great edit!

Hi Hal, here for another review.

This was an awesome edit. I’ve always felt that though TFA is a very fun film, it was in need of two things: a bit of careful polish, and more innovation. This edit supplies both in spades.

The biggest change is of course the movement of the New Republic’s destruction. The impact this change has on the weight, emotion and general feel of the film as a whole is immense. It allows the film to echo ANH while also updating it, rather than wallowing in it. It massively increases the emotion of the third act, making the good guys actually lose before they earn their victory. It makes the finale feel considerably more epic and tense. And the actual sequence itself was beautiful; the original laser-firing sequence was always one of my favourite parts of TFA just because it was visually and musically beautiful, but this new sequence was just awesome, flawlessly edited as well. I got serious chills.

Aside from that, all the small changes throughout the film were pretty much universally great. Quick cuts to dialogue for better characterisation, less wasted time and greater focus can go a long way, and it makes the film feel a lot more polished, less like it’s trying too hard to pander to its audience.

Another particular favourite change was the subtle teases of Palpatine. The three notes of his theme when Kylo speaks to the helmet were awesome, and would be great for a first-time viewer. Rey’s expanded vision was also great; using the Rathtar chase to show her separated from Finn makes it feel more personal, more connected to the rest of the film, and it was inserted into the sequence flawlessly.

As a whole, this edit makes TFA feel not only like a more bold film, but like a more confident film, which is something that TFA, and really the entirety of Disney canon, is in desperate need of. Without question, this edit has replaced TFA for me; more emotional, more compelling, and more involving. I loved it!

Hi Hal. I’m actually going to skip over this review for now, and return to it after I do my sequel ones.

It being probably the most drastic of the six edits in terms of the scope of its changes, I want to rewatch it to better formulate my thoughts. I’ll say for now that my first impression of Labyrinth of Evil was admittedly more mixed than COD and TAS; though I enjoyed a lot of the smaller changes, I felt the edit lost some of the original film’s weight and didn’t quite fix its messiness, and I’m on the fence about the deleted scenes. A rewatch (should be within the next few days) should allow me to get a good grip on some overall thoughts and give your work its due credit. Till then, I’ll move onto your ST edits.

Hi Hal, here’s my next review.

I absolutely loved this edit. AOTC is probably my second-least favourite SW film (TPM being my least favourite), as it’s just so painful to watch. But this edit simply transforms the film, and for the first time in my life, I got genuine, even considerable enjoyment out of watching Episode 2.

I’ll start with the biggest part: the romance plot. This was the biggest improvement of The Approaching Storm for me; where this romance was previously fatal levels of cringe, it now comes across as genuinely quite endearing. The largest factor to this is of course the way you re-arranged the scenes, giving the whole romance a far more belivable and compelling development. Even the cringey-but-inescapable scenes like the tick-cow ride and the floating pear dinner come across as much less painful than before because they flow much better, they feel more believable. Moving the kiss to the end of the romance arc, and removing the oh-so-infamous sand monologue, raised the sub-plot as a whole by a considerable amount. I will say that the musical transition out of the kiss scene to Obi leaving Kamino felt quite abrupt, but that’s pretty much my only problem. Although, I can’t help but notice that after the kiss at sunset, the next time we see the two is in their pyjamas the next morning…

My next favourite part was Anakin’s improved characterisation. It’s incredible the impact a few removed lines and some re-arranged scenes can have, but Anakin comes across so much more mature in TAS. I particularly loved his trimmed conversation with Padme (“Master Obi-Wan manages not to see it.” “All mentors have a way of seeing more of our flaws than we would like. It’s the only way we grow.” “I know.” This just flows soooo much better, and it’s such a simple change at that) and the now wordless embrace before Anakin leaves to find his mother. It says so much more about their growing relationship, and is more emotional.

The deleted scenes sprinkled throughout were all great, particularly Padme’s Senate address, which combined with the brilliant new opening crawl (despite how many times I’ve seen AOTC I still can’t remember a single part of the crawl, but this one jumped off the screen) was a very efficient and effective opening. Padme’s family was a far superior scene to the convo with the Queen (that scene always bugged me because you can see a very clearly contemporary building right outside the Queen’s window). The brief conversation with Anakin, Padme and Dooku raised one very interesting line: “The Republic cannot be fixed.” I felt that one line adds a whole new element to the political plot of the PT; though the Separatist movement is a smokescreen for the Sith, that line is actually still completely true. Food for thought. The scene between Obi-Wan and Windu on the landing platform did come across as quite wooden, hence why it was probably excised, but it’s much better story- and character-wise than the Jedi Temple convo with Obi, Windu and Yoda.

There are too many other things I loved about this edit to list here (the more focussed third act, the clever way you cut the factory set piece to have Anakin free Padme, less grating presence of Boba, generally improved action throughout), and I can only really think of a handful of small problems: the intercut nature of the romance plot with Obi’s investigation could feel like a bit too much of a juxtaposition (though this’ll likely fade with future watches), the aforementioned abrupt musical transition out of the kiss, and I felt that the cuts to get around Yoda v Dooku were a bit (unavoidably) clunky. In short, I think this is a miracle of an edit, a permanent replacement of AOTC. Awesome work!

I hope I’m not laying it on too thick here, I just really loved this edit.

Hi Hal, stopping by here to leave some of my thoughts on this edit (I’ll do the same for the other 5 of the 9000 Saga too).

I really enjoyed this edit. Considering the amount of unnecessary, distracting, or overly goofy stuff that pervades TPM, I was really impressed by how seamless the edit felt as a whole; it almost never felt like there was something missing, and the whole film came across as much less grating. Impressive stuff!

In terms of specific aspects, one of my particular favourite parts was the rearranged finale; removing the goofiness and giving Anakin more agency makes it feel a lot more compelling and genuinely tense, and for the first time ever I found myself rooting for Jake Lloyd’s Anakin. I also loved the new opening crawl; so much clearer than before.

The smaller changes throughout were also great to see; I particularly like the midi-chlorian-less conversation between Anakin and Qui-Gon on the landing platform, which now felt more genuine and endearing. The cut from Jar-Jar going “More? More did you spake?” to the entire droid army advancing on Naboo was a great transition. The couple of deleted scenes on Tatooine were also an effective addition.

Though this edit will probably serve as a replacer of TPM for me, I do feel that it suffers from the core problem of TPM itself; that the film is just very insubstantial. It struck me when watching that if you remove the goofiness, simplify the political nonsense and cut distracting scenes/sequences, it leaves the film with very little meat. It’s also incredibly fast-paced, giving TROS a run for its money. That isn’t really a fault of your edit so much as with the film itself. I’d say the only jarring element is that removing the Otoh Gunga sequence makes it feel weird for Jar-Jar to be tagging along with Qui-Gon and Obi-Wan, as his introduction gets so heavily truncated. Nonetheless, the sequence as a whole is not missed from the film, making the first act feel far more efficient.

As a whole, I enjoyed Cloak of Deception, and will probably return to it whenever I do my next marathon!

This looks incredible! I’ve always felt that TFA could have done with being a bit more innovative, and as much as I already love Hal’s restructure, this looks really special! I’d love a PM, and good luck working on the next two.

Though I’ve always been somewhat a fan of this film, this edit sounds brilliant! A link would be great

You’re right, “I am a Jedi” definitely works better to round off Rey’s arc through both this film and the trilogy as a whole. I also realise it shows that she’s earned her place among the four legendary Jedi standing behind her, in a more subtextual way than “We are all the Jedi”. Looking forward to seeing the final result!

That does make sense. I imagined as a sort of one-up over Palpatine: “I am all the Sith, therefore you are nothing”, “And we are all the Jedi, so you are all alone and are the one who’s really nothing.” I can see it being less clear though.

Hi Hal9000 and team,

I know you’re in the process of changing Rey’s climactic line to “And I… am a Jedi.”, but I had an alternative idea for that line a while ago that I thought would be appropriate to share here:

Would “And we… are all the Jedi.” be plausible?

Considering your (incredibly awesome) addition of the four Force Ghosts assisting Rey, this change could really solidify the unity Rey has achieved with the rest of the past Jedi, truly making it ALL of them who overcome Palpatine, who in contrast only has himself and his raw power, a true embodiment of the ethics of the Light and Dark sides, as well as further concluding the film’s through-line about “There are more of us”, which is also helped by sherlockpotter’s excellent redo of the Zorii-Poe convo. It would also make it less directly similar to the “I am Iron Man” exchange from Avengers: Endgame.

Your call of course, and I’m not even sure if this line would be possible to pull off. Maybe it’s also already been suggested. Regardless, “I am a Jedi” is a great change, and you guys are doing awesome work!

Btw I recently finished all of your ST edits, and I loved them. I’ll work my way through the prequels and then leave some thoughts on each film!

Hi poppasketti,

I literally just finished watching Hal9000’s ST edits yesterday (which I very much enjoyed), and your TLJ edit sounds awesome! I particularly like the sound of your removal of Rose crashing into Finn, and the extra Palpatine teases sound great. A PM for both the Palp and NoPalp versions would be great!

Thanks for the quick reply!

An additional question; I notice on your website that you changed some of the Black Speech subtitles. As I’d like to the same for my own edit, how do I accomplish that?

(If this isn’t the place to answer technical questions that’s fine, I also asked in the How To’s and Technical Discussions section, just thought it might be helpful to get firsthand advice)

Also I just realised you feature music from Clamavi de Profundis in your credits! I love their music and I actually had the same idea! (I used 3 of their songs in 2 intermissions)

I remember seeing the Maple Edit sometime last year; it actually inspired me to start making my own edit of the trilogy. I’d love to see your version; the summary describes some really intriguing changes! Do I have to get it from your site? (pretty new to OT.com and I’m not 100% sure how all the processes work)

Wow, this is a formidable thread. No matter how much you think you know about Star Wars, there’s always more to discover… you could probably make a few trilogies about the making of the first film alone!

Hello there OT.com! As a film enthusiast, aspiring writer and (very) amateur film editor, this site is a veritable gold mine of wonderful people, projects and info! Looking forward to digging into the archives 😃

This is a super helpful thread! I’ve thought about looking into colour grading and I have some HDR discs that I wanted to eventually experiment with, so this will be a great resource!

Hello there OT.com,

Over the last few months, I’ve been working on my first fan edit, which is a single-film cut of The Hobbit Trilogy (another to add to the pile). Along the way, I’ve been teaching myself to use DaVinci Resolve (the free version), as I have zero prior editing experience. Jumping in the deep end, I know.

So far, I’ve been able to pull off everything I want to pull off, but there’s one change I’ve wanted to be able to make that so far, I haven’t known how to do: How can I change the Black Speech subtitles?

I’ve seen other fan edits, such as the excellent Maple Edit, that change these kind of embedded subtitles, and it’s something I’d love to be able to do for my own edit (in fact it’s something I really need for a few different plot points to make sense…). I don’t know if this is actually really easy to do and I’m just missing something obvious, but any help would be greatly appreciated!

Hi Anjohan,

As an amateur editor currently working on my own edit of The Hobbit, I would love a PM of your LOTR-style edit! Having recently got into the Extended Editions of LOTR, it would be great to see a new take on The Hobbit.