I really hadn’t considered that angle properly but it does add some needed tension, so that might be worth discussing. Well done!
Nev delivered another update, and I think it makes a definite improvement to those couple shots. Here it is fully implemented. If you ask me I think this scene looks pretty good now! Once we get the haircut I think we’ll be in business.
Here it is fully implemented: https://drive.google.com/file/d/1E70DdvpSOCvug2xvC-MnIzQk7g-ydwCc/view?usp=sharing
Two quick thoughts on the fist half of S01E00:
When Dooku arrives and enters the arena, a few subtitled lines are missing. Not sure if deliberate, and if so fair enough.
It might be good to go ahead and allow a fade to black and fade back in after Sidious comments after sending Ventress on her first mission.
So far it seems to be a pretty good sequence of things!
Maybe the ship in the flashback could be towing an explanatory banner behind it.
If the consensus is to go with blue and purple for the two lights, so be it! I think that’s fine and has a logic to it.
I’m not going to rescore the X-wing lifting. And I get why they used Luke and Leia’s theme for Lando and Jannah. It’s John Williams’ way to let us know they might (or may as well) have a family connection. To me it’s the only thing in the film that steers me away from “lol wtf smoothie Lando is hitting on this 19 year old.”
^ Yes, I just meant that the saber shouldn’t appear to totally break for good during the DSII duel. I think a subtler approach should do the trick: Rey noticed it fizzling as she looks down at it, another shot from above of it, and she cowers as the saber is out of frame. Viola!
Also, it need only be a nod to the audience without having an in-universe correlate about the color of the two lights on Rey’s yellow saber. She knows the myth of Luke Skywalker anyway, so I think green and purple is the best Luke-Leia homage possible. I imagine it’s slightly better thematically that she buries the broken sabers of the past and builds her own anew anyway.
Right, it shouldn’t spark IMO at the DSII duel.
Also, Rey’s saber lights are green and blue, referencing presumably Luke and Leia’s sabers but not that she used their crystals. Having green and purple would retain this nod for this edit. I’d prefer that over blue and purple.
Maybe not the most helpful comment, but I certainly didn’t expect the Boba story to end with him in prison (?) and the Slave I blowed up.
I enjoyed the episode, though!
If it’s hard to remove the blade entirely, perhaps it can flicker or something like that, implying it went out or at least became unreliable such that she cowers before Kylo’s lifted blade in that one shot where her saber isn’t visible anyway. It shouldn’t be too much, as we don’t want to imply too strongly that the saber is totally shot or anything.
Oh, and that’s a genius idea to make the little lights green and purple in the end scene. (It even makes a tad more sense that purple and green would add up to a yellow hue.) Who’s up for it? lol
To address something from MR’s thread, I hadn’t really planned on using his clip of added sparks to the sabers at the end of Exegol. But, the final product looks fantastic!
MR, do you plan to add Rey’s saber crapping out on her at the end of the DSII duel? If so, that seems like a natural buildup to this moment. Also, have you done an audio component to this change?
I agree, let me see what I can do with opacity and maybe working up gradually to having that shot be just a little bit lighter.
I’ll try to do another pass tonight.
I don’t imagine a red/orange cast making that scene feel better overall. It’s a different part of Mustafar we haven’t seen before, over in the forest area. And with the title crawl namedrop and Vader’s Castle added, there’s no room for confusion.
^ And Jar Jar, that’s the sort of thing I was trying to mitigate by lowering the opacity. It was more obvious where the feathered mask was in the clip straight from Nev.
I thought this in the moment after Kylo sliced through Luke and turned to see he was still standing in the theater, so make it a reality:
Luke was dead all along on that island. Anytime Rey’s eyes aren’t on him throughout TLJ, give him a ghost effect. For example, when she closes her eyes to meditate, the effect kicks in until the moment she next sees him.
“Your only hope is to try midichlorians.”
Eh, I think we’d almost need a sunrise shot, and I’m not sure it’d be really necessary. Might actually be a little on the nose to say “LOOK IT’S DAWN NOW, like the sun is RISING.”
Thanks, all! I will incorporate a yet newer version from Nev and eyeball it. It sounds like that’ll ensure a consistent environment for the first part of the scene, being nighttime until the establishing shot after Luke catches the saber. It’ll be just a little brighter for that part of the sequence, again in order to ease the burden of the feather mask around Luke.
I think with this context it is now unmistakable that Rey arrives at night and the dawn arrives during her time there. This ties in well thematically, obscures the less-than-stellar soundstage set for Ach-To, and gives a visceral sense of the passage of time even if the sequence is still characteristically rushed.
Alec Guinness joins Luke in TROS on Ach-To in sharing guidance with Rey.
“Don’t be afraid, [rai]!”
I can try adjusting the opacity further for more consistency in that regard, I think.
Nev sent me what he described as about the best he can get the Ach To scene to look. Here is a version tweaked a little by me, to see how it plays. I lowered the opacity by 20% so that just a little of the original scene comes in. The reason for this is to obscure the feathered mask around Luke that is still noticeable for a few shots in Nev’s version. (I did not make use of skenera’s de-blued Luke clip because it won’t be usable once we have jonh’s finished haircut footage. But, the normal LUT is applied and this could be how it can look in the final product, haircut aside.)
https://drive.google.com/file/d/1V-2nw2VagJLKllVthbGrPL5eYb9KUjiq/view?usp=sharing
Unklar Plutt slams down KFC-branded food rations.
JEDIT: silly, silly typo. See next post.
Maybe they thought they’d leave her there for a few hours. I mean, given the final timeline we’re looking at it seems Ochi was right on their tail.
Rey could’ve come to see herself as having been “sold,” but the idea doesn’t need to be in this movie. That term need not be hung on it, I mean. If you want to describe what happened in TROS’ depiction of the past, it could be described other ways. Maybe they paid Unklar a little something to watch her a while.
Seems unnecessary for that moment.
Yeah, there are a few things in that scene that speak to the sequence not being ready for primetime. Personally, though, I agree with RJ’s reasoning for removing the scene. Without it, Luke and Rey have their falling out after a moment of hope and promise. Plus it is a long film as it is. I like the scene a great deal, but that’s why I didn’t reincorporate it into the film.
And without that scene the Caretakers don’t really serve a purpose, even though I don’t at all dislike them.
But let’s curb that topic, as it’s not relevant here.
I really don’t plan to trim Luke’s dialogue further than in V1, and I like his line about fear. I appreciate you mocking those up.
And I just don’t think the “lesson three” works in practice. It’s a nice idea and effort, for sure, but it just doesn’t feel right when I look at it in context. Seems weird for Luke to go there.
I’m gonna go ahead and put the Luke conversation to bed.
Who is Chancellor of the Republic?
Palpatine? Huh! Who’s vice-chancellor, Mas Amedda?!