Sign In


User Group
Join date
Last activity

Post History

Terminator 2: The Eyepainter Fanedit (a WIP)

As promised, here are the screencaps I mentioned.

Let’s break down the process with an example shot.

Here’s what the movie looked like with just the LUT:
T2 Powergrade Process_1 8 1

Taking notes from the YouTube video by Mononodes, I began the process by adjusting the offset printer lights. I decided to adjust the RGB values towards green and blue because T2 was never really that red to begin with. I then adjusted the contrast and pivot controls, but the results were barely noticable, so they’re both included in this screencap. Trust me. You won’t see a difference between the two if I turned off the contrast.
T2 Powergrade Process_1 8 2

After looking at a few scenes on my 1080p HDTV, I noticed that the colors looked rather pale, so I raised the color saturation:
T2 Powergrade Process_1 8 3

Finally, I worked on the standard color wheels. I wanted to really go all the way with the film look, so I grabbed my flash drive of Puggo Grande’s 16mm Star Wars trilogy and ingested all three movies onto DaVinci Resolve to study what they look like on the scopes. Episode IV had a much bluer color scheme than V and VI, so I decided to adjust the black and white levels accordingly. I tried the redder color cast from Empire and Return onto T2 to see what would happen, and it turned everything into a copper yellow. That finalized my decision. The black levels in Puggo’s Episode IV had a blue tint, so I raised the blue in the lift feature. The white levels, on the other hand, have a green tint, so I lowered the reds and blues in the gain feature. Finally, the midtones were bright on Puggo’s Episode IV, so raised the gamma a lot. I tested it on my 1080p HDTV again, and the blacks looked way too blue and the whites looked way too green, so I readjusted the color wheels again to make the blue and green tints more subtle. Now the black levels are only faintly blue and the whites are only faintly green now. With that lengthy wall of text done, here’s the LUT with the powergrade:
T2 Powergrade Process_1 8 4

Now with that example out of the way, let’s go to the main attraction. I’m placing all of the screencaps under a spoiler tag so as to make this post shorter. Plus, there are actual spoiler warnings in these screencaps anyway (although I don’t think that’s gonna be a big issue since almost everyone has seen the movie by now). Enjoy, and let me know what you think!

T2 Powergrade Stills_1 3 1
T2 Powergrade Stills_1 4 1
T2 Powergrade Stills_1 4 2
T2 Powergrade Stills_1 4 3
T2 Powergrade Stills_1 4 4
T2 Powergrade Stills_1 4 5
T2 Powergrade Stills_1 4 6
T2 Powergrade Stills_1 4 7
T2 Powergrade Stills_1 5 1
T2 Powergrade Stills_1 6 1
T2 Powergrade Stills_1 6 2
T2 Powergrade Stills_1 6 3
T2 Powergrade Stills_1 8 1
T2 Powergrade Stills_1 8 2
T2 Powergrade Stills_1 8 3
T2 Powergrade Stills_1 8 4
T2 Powergrade Stills_1 8 5
T2 Powergrade Stills_1 8 6
T2 Powergrade Stills_1 8 7
T2 Powergrade Stills_1 8 8
T2 Powergrade Stills_1 9 1
T2 Powergrade Stills_1 9 2
T2 Powergrade Stills_1 9 3
T2 Powergrade Stills_1 9 4
T2 Powergrade Stills_1 10 1
T2 Powergrade Stills_1 10 2
T2 Powergrade Stills_1 10 3
T2 Powergrade Stills_1 11 1
T2 Powergrade Stills_1 11 2
T2 Powergrade Stills_1 13 1
T2 Powergrade Stills_1 14 1
T2 Powergrade Stills_1 14 2
T2 Powergrade Stills_1 14 3
T2 Powergrade Stills_1 14 4
T2 Powergrade Stills_1 14 5
T2 Powergrade Stills_1 14 6
T2 Powergrade Stills_1 14 7
T2 Powergrade Stills_1 14 8
T2 Powergrade Stills_1 15 1
T2 Powergrade Stills_1 15 2
T2 Powergrade Stills_1 15 3
T2 Powergrade Stills_1 16 1
T2 Powergrade Stills_1 16 2
T2 Powergrade Stills_1 16 3
T2 Powergrade Stills_1 16 4
T2 Powergrade Stills_1 16 5
T2 Powergrade Stills_1 16 6
T2 Powergrade Stills_1 16 7
T2 Powergrade Stills_1 16 8
T2 Powergrade Stills_1 16 9
T2 Powergrade Stills_1 16 10
T2 Powergrade Stills_1 16 11
T2 Powergrade Stills_1 18 1
T2 Powergrade Stills_1 18 2
T2 Powergrade Stills_1 18 3
T2 Powergrade Stills_1 18 4

Episode I: The Eyepainter Fanedit * v3 1080p and 720p now online * (Commentary a WIP)

nmxuci5970 said:

I was unable to watch your 1080p version of the phantom menace edit. However, I was able to watch the 720p v3. I liked how you used different types of film techniques in different shot angles to make it look like a artificial environment when they travel to different Star systems. By the way this looks like a great piece for its kind. Nice Work

Thanks! I’m glad you enjoyed it!

Episode I: The Eyepainter Fanedit * v3 1080p and 720p now online * (Commentary a WIP)

CMMAP said:

Eyepainter said:
And here’s what it looks like when I added a DCI-P3 Fujifilm 3513DI D55 LUT using the technique described in the video above:
Film Look LUT_1 78 2 T

Although I do have my opinions, I’m curious to hear what others think about it. Keep in mind that the bottom example is the LUT itself. I haven’t done any color corrections to it at all, with the exception of adding a broadcast safe node and a node containing the Cineon film log Color Space Transform, as described in the YouTube video. So naturally, I’m not expecting it to be perfect.

I think, despite missing cc, it´s way to blown in the highlights and to bright overall. The light source in the upper region and the entry on the right of this scene wouldn´t accumulate this much brightness. Hence, i don´t think this LUT works.

In my experience, most LUTs are imperfect. With many being either too dark, too bright, too low in contrast, or too heavily saturated in color. So an overly bright LUT like this one is normal. My central aim with this LUT is to give a more cinematic look to the film, and judging from EddieDean’s comment on the screencap looking close to the OT, it sounds like I’ve succeeded.

Terminator 2: The Eyepainter Fanedit (a WIP)

I have another update on the color grading. I’ve been fortunate enough to find this video on YouTube which I’ve been taking notes on for the last day or two:

I went further down the rabbit hole and found the website from the creator, which I’ve been getting a lot of inspiration from lately:

I’ve also been working on the concept of powergrades, which is a major theme of this colorist’s work. I’ve been taking even more notes on this video, which has been insanely helpful so far:

I’ll still be using the LUT I’ve mentioned, as well as the adjustments I’ve already made, but I will be applying the powergrade on the individual clips themselves and seeing how it turns out. I will post some screencaps showing the differences between the LUT as is and the LUT with the powergrade in the future.

Terminator 2: The Eyepainter Fanedit (a WIP)

Time for an update on the color grading. Since I’ve gotten no second opinions on the color grading, I’ve decided to go ahead with the Rec. 709 Fuji LUT for the grade. Several reasons. Reason #1: It’s my favorite of the film look LUT’s I have on DaVinci Resolve. Reason #2: It’s the bluest of the film look LUT’s, which works perfectly for T2 due to its already blue color palette. So, congrats Rec. 709 Fuji. You win by personal bias!

Smile for the camera, please!
T2 LUT Winner_1 9 1 T

So, with my LUT selected, I’ve gotten to work on the grade. I started off by changing the timeline color space from Rec. 709 (Scene) to Rec. 709 Gamma 2.2, which immediately fixed the brightness issue:

Rec. 709 (Scene)
T2 Color Space Examples_1 9 6 T

Rec. 709 Gamma 2.2
T2 Color Space Examples_1 9 7 T

It looks good, but there’s one thing that bothers me in this shot. If you look at the Rec. 709 (Scene) cap again, you’ll notice the power lines behind the T-800. Those details have disappeared in the Gamma 2.2. So, I decided to adjust the black levels using the curves. I tried adjusting the red, green, and blue channels separately, but this altered the color scheme of the film look LUT I was aiming for. So instead, I decided to combine the three channels together and adjust the Y channel, which is basically all three channels combined to make white. I decided to brighten up the black levels like so.

Rec. 709 Gamma 2.2 corrected
T2 Color Space Correction_1 9 1 T

Next, I took on one of the biggest issues with my Skynet Edition blu-ray: the lack of detail. As mentioned in the blu-ray reviews in the main topic, this transfer suffered from the dreaded DNR that plagued a lot of blu-ray releases at the time. So I cranked up the midtone detail (abbreviated as MD) all the way up to 11. Midtone detail increases the perception of image sharpness, giving the image a fake ultra high definition look.

Before MD
T2 MD Example_1 6 1 T

After MD
T2 MD Example_1 6 2 T

I’m not sure if it’s an instant fix for more detail, but I will say that it does look a lot sharper. And in this movie’s case, that’s never a bad thing.

So, that’s the progress I’ve made so far. Let me know what you think about the above improvements.

Star Wars Episode IX: The Eyepainter Fanedit (A WIP)

Episode IX Intro_1 47 1

I’ve been reluctant to work on The Rise of Skywalker, and it’s mainly because I was the only person in the galaxy who unambiguously liked the film.

Yeah, I’m going to hell.

This is the main reason I’ve been hesitant to edit the sequel trilogy as a whole. I just didn’t see eye-to-eye with everyone else like I did with the prequels. So, because I’m not cool, I decided to rip my blu-ray of TROS and see what my ideal version would look like, but only for the fun of it. Besides, I needed something to do when I wasn’t worrying about moving so much (and while my computer remains unpacked). Plus, I figured it wouldn’t be that different from what others saw in the cineplex (That is, before it got shut down due to a certain disease). I probably wouldn’t cut out that much, right?

Well, as of this posting, I’ve reduced the film from 142 minutes to 104 (and that isn’t even the final runtime). I’m not sure if it’s different enough for some people, but it’s different enough that I figured: Sure, why not?

For Episode IX, my approach is simple: put all of the focus on the main plot and remove anything that isn’t essential to it. So, my edit is going to be focused mainly on Rey, Kylo Ren, and Palpatine. I suspect people will hate me for it, but it’s better to have a simple bad movie over a complex bad movie.

One thing that’s caught me by surprise looking back at the film is how many subplots there were. So, I’ve cut a lot of those subplots out of the movie at present. Chewie’s fake death and the ensuing rescue mission? Gone. General Hux secretly being a rebel spy? Gone. Finn’s romance with Jannah? Mostly gone, more implied.

They win by making you think there won’t be a changes list.

I still have to work on keeping things consistent with the previous two movies and for that reason, I don’t have a final list of changes yet. Rest assured, though, that I am working on it (in between moving boxes, of course). When I feel I’ve gotten everything consistent with the sequel trilogy as a whole, I’ll be fine with releasing a changes list. Until then, this is Eyepainter, signing off.

Star Wars Episode VIII: The Eyepainter Fanedit (A WIP)

Episode VIII Intro_1 34 1

The biggest problem with The Force Awakens is that it’s too much like Star Wars. The biggest problem with The Last Jedi is that it’s too little like Star Wars. Now, I liked VII enough that I was highly anticipating the next film in the saga, called The Last Jedi. I enjoyed a lot of Rian Johnston’s other indie flicks (Like Looper, for example), and knowing that he was directing and writing this movie, I was filled with hope that the force would be strong with this one.

You can imagine my disappointment when I saw the movie that fateful Christmas of 2017. When I left the theatre that night, my first reaction was “Huh. That was complicated.” And the more I thought about it, the more I began to realize the terrible truth: this film was a total disaster.

The Last Jedi is, to me, the film that singlehandedly destroyed the sequel trilogy and broke it beyond repair. I know some people like to defend it saying that it’s “different.” But different isn’t always good. Let’s say for example that you’re given a scoop of ice cream. You enjoyed it, but now you’re craving for something different. So, you ask the ice cream man to hand you a different flavor this time around. When he comes back, he gives you a scoop of human feces. What’s the matter? You said you wanted something different.

And make no mistake, TLJ is the bad kind of different. If VII was a scoop of ice cream, VIII is the scoop of feces. I almost shouldn’t call it a Star Wars movie. But because there are lightsabers, because Luke is in it, and because it takes place in space, it can just barely be called Star Wars. Just barely.

This is the one that really motivated me to take on the sequels. If any of these movies needed to be fixed, it’s this one. Hang in there, kid. I’m looking for an ice cream flavor that isn’t feces.

This is also the hardest one to edit thus far. Given that this is the middle film in the trilogy, I’ve had to check for inconsistencies across the board since this is the one that takes us from point A to point B. Not just for this movie, but for all three. With the prequels, I was working on one episode at a time. But because of this film, I’ve been constantly looking back and forth between all three films as if they were one. No, I’m not doing one of those 3-in-1 edits here. This is Lord of the Rings logic. I’m treating all three movies as if they were one movie, even though they will still be a trilogy. It’s only because this movie really is that broken and I have to check to ensure that it makes sense with the logic of the rest of the trilogy.

I’m also trying to decide how to approach Finn. Currently, I’ve made three timelines, which is DaVinci Resolve-speak for three separate versions of the movie. In timeline 1: we have an edit that takes Finn out of the movie completely until the last few minutes of the film. In timeline 2: we have an edit where Finn is resurrected about two-thirds of the way through, skipping Canto Bight, Rose, and Benicio Del Toro altogether. Finally, in timeline 3: we have an edit where Finn meets Rose, goes to Canto Bight, and deals with a smuggler, but with as many of the bad parts taken out as possible. I’m leaning towards timeline 2 as my final edit, but I can’t decide for now.

Of course, there are some things I definitely didn’t have to think about too much. Luke Skywalker’s character is the first thing that comes to mind. I also didn’t have to think too much about removing Poe’s conspiracy theory subplot. I’ve also removed Rey’s decision on whether she joins Kylo Ren or not to ensure a more ambiguous ending, and I’ve made some unusual editing decisions to keep the rest of the ending ambiguous and leave Rey’s decision more open-ended, even though she still saves the rebellion in the end.

…Snoke. Skywalker. The Sith. The Jedi. The Rebels. The changes list. Let it all die…

So, as you can see up above, I don’t have a final list of changes at the moment. At least, not until I’ve sorted out how to approach Finn for my edit. Rest assured, though, that I am working on it, and once I’ve weeded out enough inconsistencies and problems, I will release that list. I’m not sure how long it’s gonna take, especially since I’m still in the process of moving, but I’m doing what I can in the meantime. This is Eyepainter, signing off.

Star Wars Episode VII: The Eyepainter Fanedit (A WIP)(Changes announced)

Episode VII Intro_1 4 1

People can complain about TFA being a clone of Episode IV all they want, but at least it felt like we had returned to that galaxy far, far away some 30 to 40 years later. I remember what it was like going into that packed theatre in Christmas 2015. I watched it right next to some stranger who smelled of cigarette smoke. We were all bitter about the prequel trilogy and how much of a disappointment that was, and the best we could all hope for is that Disney’s approach would be a true return to the franchise. And when the credits rolled on Episode VII, it was.

Yeah, I’m not gonna lie. I like this one. I liked the characters, both old and new. And out of all the Star Wars movies that came before, this one was the closest I’ve ever gotten to seeing a movie that actually was Star Wars. In a theatre. I was born 7-13 years too late for the original trilogy. I never had a chance to see Episodes IV-VI when they were in cinemas everywhere, since I’d never been born yet. So, my first exposure to the universe of Star Wars was through three old VHS tapes my parents had. Then of course, the prequels were released. Episode I came out when I was only 9. Episode III came out when I was 15. But even with the prequels, they just weren’t Star Wars. They weren’t those movies I watched on VHS when my age was in the single digits. If nothing else, The Force Awakens was the closest I’ve ever gotten to seeing a real Star Wars movie in a theatre, and for that reason alone, I treasure it.

With that said, I do agree that it had some flaws. Certain things could’ve been done better. There’s a couple of scenes that aren’t necessary. A few jokes that don’t land. And of course, the movie could do with being Episode IV a little less. It’s not a bad film in my eyes, but it does need a tune-up.

So that’s what my edit of Episode VII is. Most of the changes I’m making are minor ones for the most part. I’ve deleted one or two major scenes, but it’s not a dramatic change from what we’ve already seen. Right now, my edit is running two hours even. That’s not the final running time, but it is longer than my other fan edits of the franchise.

Changes list (Updated 11-22-21)

As with the prequels, “-” means deleted, and “/” means altered. I would throw in a “+” for added, but I don’t have any deleted scenes this time around. Two reasons: Reason #1: I don’t know how to get the time codes out, and reason #2, unlike the prequels which deleted some gems, this movie doesn’t have very many good deleted scenes, at least, from the ones on my blu-ray. So, bottom line, don’t expect a “+” sign for this list for now.

/opening crawl
-“You know what I’ve come for.”, and “I know where you come from, before you called yourself Kylo Ren.”
-“So, who talks first? You talk first? I talk first?”
-“It’s very hard to understand you with all the-”, “Search him.”, “-Apparatus.”
-Poe getting searched
-Poe screaming from Kylo Ren’s force probing
-“Follow the girl, and get that droid!”
-“You need a pilot.”, “I need a pilot.”, “We’re gonna do this.”, and “Yeah?”
-“This is very complicated.”
-“This thing really moves!”
-“Did you see that? Did you see that?”, and “I saw it!”
-Kylo Ren and General Hux’s dispute over finding the droid
-“Hey! That’s mine!”
-Shot of scavengers going after the downed first order ship
-“Nice shooting!”, “Now that was some flying!”, “Thanks!”, “How did you do that?”, “I don’t know!”, “No one trained you?”, “I’ve flown some ships, but I’ve never left the planet! Your last shot was dead-on!”, “That was amazing!”, “You got him with one blast!”, “You set me up for it!”, “It was perfect!”, and “That was pretty good.”
-Kylo Ren’s reaction scene to the failure of BB-8’s capture on Jakku
-“Jakku? That junkyard?”, “Thank you! Junkyard…”, “I told you we should’ve double-checked the western reaches! Who had it? Ducain?”, “I stole it. From Unkar Plutt. He stole it from the Irving boys, who stole it from Ducain.”, “Who stole it from me!”
-The entire Rathtar episode
-General Hux and Kylo Ren’s meeting with Snoke
-Rey and Han Solo fixing the electrical overload
-Finn trying to bandage chewbacca’s wounds
-Rey bypassing the compressor
-“I think I can handle myself.”, “I know you do. That’s why I’m giving it to you. Take it.”
-Most shots of the guests at Maz’s bar to slightly lessen the film’s overreliance on Episode IV
-“Alert the Resistance their missing droid is here!”
-General Hux’s speech to the first order
-Han Solo trying out Chewbacca’s crossbow
-Poe’s reveal during Takodana battle
-Poe’s “woohoo!” during Takodana battle
-Chewie socializing with the nurse
-“I’m afraid not. R2-D2 has been in low power mode ever since master Luke went away.”
-Rey resisting Kylo Ren’s force probing
-Snoke and Kylo Ren’s discussion on Rey’s resistance
-Death star and Starkiller base comparison discussion
/Moved Rey’s jedi mind trick on the stormtrooper to after Han Solo says goodbye to Leia
-“The name’s Finn, and I’m in charge! I’m in charge now, Phasma! I’m in charge!”, and “Bring it down. Bring it down.”
-Several shots of Resistance pilots to lessen Episode IV comparisons slightly
-“General, are you seeing this?”, “Two more X-Wings down. That’s half our fleet destroyed!”, and “And their weapon will be fully charged in ten minutes! It would take a miracle to save us now!”
-“The oscillator’s been damaged, but is still functional.”, and “Admiral! Their weapon will fire in two minutes!”
-“We just lost R1.”, and “We’re overwhelmed! What do we do? It isn’t working!”
-More shots of the pilots to lessen Episode IV comparisons
-“You need a teacher! I could show you the ways of the force!” and “The force?”
-Shot of first order employee running from his post
-Snoke giving General Hux permission to retreat

Terminator 2: The Eyepainter Fanedit (a WIP)

Glad you are, JackNapier! I hope it lives up to your expectations.

Anyway, I’ve been fooling around with the film look LUTs on DaVinci Resolve, and I’ve narrowed my selections down to just four.

I’ll start by showing a small example of the 4 LUTs using Arnold’s head before I show examples for the main course. Our first LUT is the DCI-P3 Fujifilm 3513DI D65 LUT. That is a mouthful, so to simplify it, I’m just going to call it the DCI Fuji:
T2 Samples_1 9 5 T

Next is the DCI-P3 Kodak 2383 D65 LUT. Just call it the DCI Kodak to keep it simple:
T2 Samples_1 9 6 T

Next is the Rec709 Fujifilm 3513DI D65 LUT. Yeah. They all have names that long. Let’s just call it the Rec709 Fuji. Not to be biased, but this one’s my favorite:
T2 Samples_1 9 7 T

And finally, we have the Rec709 Kodak 2383 D65 LUT. Or just the Rec709 Kodak:
T2 Samples_1 9 8 T

Before we begin, yes, all 4 LUTs are overly bright. That is normal. This will give out an indication of what the black levels will look like underneath. Don’t panic, the winner will be color corrected.

I will be placing all the examples below under spoiler tags, so that this already long post is made shorter. Click the expand tabs to see the examples.

Let’s begin by showing off 2029 downtown L.A.

DCI Fuji

T2 LUT_1 3 1 T

DCI Kodak

T2 LUT_1 3 2 T

Rec709 Fuji

T2 LUT_1 3 3 T

Rec709 Kodak

T2 LUT_1 3 4 T

Here’s what the T-800’s red viewport looks like.

DCI Fuji

T2 LUT_1 4 1 T

DCI Kodak

T2 LUT_1 4 2 T

Rec709 Fuji

T2 LUT_1 4 3 T

Rec709 Kodak

T2 LUT_1 4 4 T

This shot of the T-800 grabbing the shotgun shows the balance between orange and blue.

DCI Fuji

T2 LUT_1 4 5 T

DCI Kodak

T2 LUT_1 4 6 T

Rec709 Fuji

T2 LUT_1 4 7 T

Rec709 Kodak

T2 LUT_1 4 8 T

This shot of John Connor prepping up his ride shows the warmer side of all 4 LUTs.

DCI Fuji

T2 LUT_1 4 9 T

DCI Kodak

T2 LUT_1 4 10 T

Rec709 Fuji

T2 LUT_1 4 11 T

Rec709 Kodak

T2 LUT_1 4 12 T

The opening shot of Sarah Connor’s dream sequence from the Special Edition is a very low contrast shot, giving an indicator over how the LUTs handle gamma.

DCI Fuji

T2 LUT_1 6 1 T

DCI Kodak

T2 LUT_1 6 2 T

Rec709 Fuji

T2 LUT_1 6 3 T

Rec709 Kodak

T2 LUT_1 6 4 T

This shot of Sarah Connor’s dream sequence is another example of the balancing between warm colors (Red, orange and yellow) and cool colors (Green and blue).

DCI Fuji

T2 LUT_1 6 5 T

DCI Kodak

T2 LUT_1 6 6 T

Rec709 Fuji

T2 LUT_1 6 7 T

Rec709 Kodak

T2 LUT_1 6 8 T

The Galleria’s white exterior reveals the color tones of all 4 LUTs.

DCI Fuji

T2 LUT_1 8 1 T

DCI Kodak

T2 LUT_1 8 2 T

Rec709 Fuji

T2 LUT_1 8 3 T

Rec709 Kodak

T2 LUT_1 8 4 T

This shot from John Connor’s POV shows the contrast and dynamic range of all 4 LUTs.

DCI Fuji

T2 LUT_1 8 5 T

DCI Kodak

T2 LUT_1 8 6 T

Rec709 Fuji

T2 LUT_1 8 7 T

Rec709 Kodak

T2 LUT_1 8 8 T

This shot shows how each LUT handles T2’s blue color scheme.

DCI Fuji

T2 LUT_1 9 1 T

DCI Kodak

T2 LUT_1 9 2 T

Rec709 Fuji

T2 LUT_1 9 3 T

Rec709 Kodak

T2 LUT_1 9 4 T

Here’s a shot that shows off some of the cooler tones of each LUT.

DCI Fuji

T2 LUT_1 13 1 T

DCI Kodak

T2 LUT_1 13 2 T

Rec709 Fuji

T2 LUT_1 13 3 T

Rec709 Kodak

T2 LUT_1 13 4 T

While we’re at it, let’s see how the CGI of the T-1000 is handled.

DCI Fuji

T2 LUT_1 13 5 T

DCI Kodak

T2 LUT_1 13 6 T

Rec709 Fuji

T2 LUT_1 13 7 T

Rec709 Kodak

T2 LUT_1 13 8 T

This one shows the varying skin tones contrasted with the blue color scheme.

DCI Fuji

T2 LUT_1 13 9 T

DCI Kodak

T2 LUT_1 13 10 T

Rec709 Fuji

T2 LUT_1 13 11 T

Rec709 Kodak

T2 LUT_1 13 12 T

This shot of Sarah Connor arming up at Enrique’s showcases the film at its brightest.

DCI Fuji

T2 LUT_1 14 1 T

DCI Kodak

T2 LUT_1 14 2 T

Rec709 Fuji

T2 LUT_1 14 3 T

Rec709 Kodak

T2 LUT_1 14 4 T

…Followed by this shot showcasing the film at its darkest. Again, I will correct the black levels, but this reveals what tones the black levels will take on when it’s finished.

DCI Fuji

T2 LUT_1 15 1 T

DCI Kodak

T2 LUT_1 15 2 T

Rec709 Fuji

T2 LUT_1 15 3 T

Rec709 Kodak

T2 LUT_1 15 4 T

The Dyson family household shows the differences between white and blue for all 4 LUTs.

DCI Fuji

T2 LUT_1 15 5 T

DCI Kodak

T2 LUT_1 15 6 T

Rec709 Fuji

T2 LUT_1 15 7 T

Rec709 Kodak

T2 LUT_1 15 8 T

And finally, I end this with a popular shot of the T-1000.

DCI Fuji

T2 LUT_1 15 9 T

DCI Kodak

T2 LUT_1 15 10 T

Rec709 Fuji

T2 LUT_1 15 11 T

Rec709 Kodak

T2 LUT_1 15 12 T

Hopefully, that will give you an idea of what each LUT does to the movie. Which one’s your favorite?

Terminator 2: The Eyepainter Fanedit (a WIP)

T2 Introduction_1 9 2 T

As I’ve toiled my way through a long and tiresome move, I’ve been entertaining a lot of ideas to play around with during my spare time when I’m not moving boxes around (and while I still have an internet connection). One of those ideas happened to be James Cameron’s legendary sequel, Terminator 2: Judgment Day.

Like a lot of folks, I enjoy this film. I don’t think that will come as a shock to anyone. However, I’m also a very indecisive viewer when it comes to which version of the film to watch. For most of us, there are two versions: The 137-minute theatrical version and the 152-minute special edition. Both versions have their strengths, but they also contain several weaknesses that I find hard to glance over. There are scenes in the Special Edition that I wish had seen the light of the film projector back in 1991, but there are also some things that I’m glad were left on the cutting room floor for the theatrical version. So, my motivation for making my own version of T2 was to create a compromise. Of course, my version is still its own thing, and I’ve even removed a couple of things that were around in both versions. However, my main concern was to create a balance between both versions of the film.

For this edit, I brought out my trusty ol’ Skynet Edition Blu-Ray. This edition contains both the theatrical version and the special edition, plus a secret third version that adds 2 more minutes to the special edition, labeled as “the future is not set” if you answer the 5-digit code on the blu-ray menu correctly (If you’re stumped about the code, here’s a hint: it’s the date for Judgment Day). I ripped the theatrical version and this “future is not set” version. These two versions alone should contain every last bit of footage that’s available for the home consumer. That said, though, the Skynet Edition isn’t perfect, as these two reviews below perfectly illustrate:

The video quality is perhaps the biggest elephant in the room for the Skynet Edition. For this reason alone, I’m planning on doing some color grading to the edit in an attempt to fix some of the issues with the video. While the picture quality isn’t “terrible” per se, it could use some improvement. Plus, I really want to experiment with a lot of the ‘film look’ LUT’s I have on DaVinci Resolve, and this is a perfect opportunity to exploit that desire (In fact, that picture of Arnold up there is using a Rec. 709 Fujifilm LUT with a D65 color temperature. The more you know). Hopefully, if I’m playing my cards right, this edit is gonna look really cinematic.

Otherwise, that’s about all I want to say for an introduction. I will conclude this with a list of the changes I’ve decided on so far, plus a couple that I’m still feeling indecisive about. Feel free to state your thoughts on the indecisive ones.

Special Edition changes I’m keeping

Sarah Connor’s Kyle Reese dream sequence
John and Sarah’s CPU reset scene
T-800 smiling scene
Sarah’s extended conversation with Enrique
John and T-800’s extended conversation during the weapon stock-up
John and T-800’s extended conversation on why killing Miles Dyson is a bad idea
Dyson chopping the Cyberdyne CPU

Special Edition changes I’ve removed

T-1000 stealing the police car
T-1000 killing the dog and scanning of John Connor’s room
Miles Dyson talking about going to Raging Waters theme park
All moments of the T-1000’s glitching up during the final battle to keep the tension going

Things that are different from both versions (updated 11-22-21)

Re-edited Sarah Connor’s assassination attempt on Miles Dyson as follows: (updated 11-21-21)

Changes I’ve removed from both versions (updated 11-21-21)

The opening 2029 action sequence, so that Sarah Connor’s narration takes center stage
T-1000’s line, “Thanks for your cooperation.”
Miles Dyson’s introduction at Cyberdyne
T-1000 talking to the girls about John Connor being at the Galleria
That subplot involving Sarah Connor and the “pervert”
Removed a couple of shots where Sarah Connor beats her oppressor senseless, since that subplot no longer exists
Shot of the T-800 and John Connor riding the motorcycle to the asylum (updated 11-21-21)
The lines, “John, you’ve got to go now.”, and “John!”

Changes I’m undecided about (updated 11-21-21)

The ending. Original or alternate? For those of you who’ve never seen the alternate ending, here it is: