The audio isn’t meant for listening, just for laying into a NLE. It’s six separate mono files, so you probably are listening only to the Left channel.
Just glanced at it. It fails my litmus test, at about 2hr13m. Oh, well.
Coming your way.
For anyone who would like it, here’s the ending scene with no added music. (The video track is compressed, but the audio is not.)
https://drive.google.com/file/d/1ol5gOj66ASm93SRLx7YrnGfgifSc0y_9/view?usp=sharing
That’s what makes it a bad idea.
Here’s another version of the extra lever shot. I extended Chewie’s grown, which hopefully works, and used a different piece of buffer audio from earlier in the scene that doesn’t have the wind that was causing issues.
https://vimeo.com/453744130Going back to the Poe pulling the lever, this looks great.
That said, Hal, I took your edit and added the sound of the hyperdrive kicking in. The change is subtle but I really think it helps to sell that sequence.
Take a look: https://vimeo.com/455670684/fefe98d1d7
Nice. Could you send just the sound effect?
Kerr has done edits of each of the Hobbit films and, while I found AUJ to be a solid improvement and am sure the other two are similarly, I don’t really care to watch anything but a 3-in-1 edit.
Maple Films is the Hobbit edit I go to. It’s the only one I’ve checked out that truly feels like it works as well as it’d need to on its own. It’s not perfect, but it’s the best IMHO.
When I check out a Hobbit edit, I use the barrel scene as a litmus test. If it goes from the music obviously ramping up for an action sequence to the dwarves floating listlessly, as they almost all do, it fails the test and I look no further.
Ill PM you.
The latter: I used the track without added music by default, and added the specific changes that I felt belonged soundly (pun intended).
If I had had any idea Kerr’s regular version of this project would remain unseen, I’d have kept my sources he sent. As it stands, what I have released is all I have.
I mirror your praise to Kerr and was happy to re-extend it somewhat for a version I could be cozy with.
It works implausibly well. 😉
Maybe add any Jedi actors’ songs who have recorded ant to the Exegol confrontation, singing rather than speaking to Rey.
“You will go to the Dagobah system. There you will learn from Yoda, the Jedi Master who instructed the Jedi Master who instructed the Jedi Master who instructed me.”
Didn’t you already fix it in your own edit? You changed the line to have Ben refer to Yoda as “a Jedi master who instructed me”, not “the Jedi master who instructed me.”
Y we ah but this is more radical.
An inverse, evil Christmas. Palpatine is Santa, etc.
Off the dome…
Reworked the Arwen plot, retaining most of it but somehow making it more palatable to purists. She doesn’t set out for the Havens, yet still converses with Elrond and advocates for Aragorn. It’s been restructured substantially throughout all three films and really wowed me. She’s still a big part of the story but Kerr avoided the trigger points for purists.
Theoden’s exorcism does not show a literal possession by Saruman.
No elves at Helm’s Deep, save for Legolas. Masterfully done, compared to my efforts a decade ago.
Denethor dies on the pyre, not by running off the city.
The battle of Pelennor Fields is restructured beautifully, “fixing” something that was already beautiful.
Same goes for the entirety of ROTK: restructuring for new juxtapositions that elevate the material. For example, Aragorn challenging Sauron via palantir literally draws his eye away from nearly spotting Frodo, more seamlessly integrating this EE scene into the narrative.
Throughout, Kerr tightens things up here and there. He loved the theatrical editions, which is why I felt a desire to re-extend them somewhat like this. There overall feel, even in my version as compared to the real EEs, is a bit tighter and featuring just a bit less silliness that felt overly modern. The humor is intact, just pruned. For example, he removed the crumbling stairs from FOTR and it’d associated dwarf tossing reference in TTT.
The Mouth of Sauron is missing, and I did not try to reinstate it because it would’ve meant destroying how he had beautifully reworked that portion of the movie. (And I only would’ve included it if there were a good way to remove Aragorn barbarically killing the messenger.)
All in all, it’s a genuinely invigorating fan edit for anybody, though I think non-insistent book lovers will get the most enjoyment from it.
“You will go to the Dagobah system. There you will learn from Yoda, the Jedi Master who instructed the Jedi Master who instructed the Jedi Master who instructed me.”
Hal, I know you’ve been through the ringer on this one, but Icecream’s on to something:
Goddammit, got me again. If Leia can sing it dietetically, it’s a deal.
I really wouldn’t mind a gag reel from you to include as a bonus video.
And I wouldn’t mind having the music go longer to reach that little SWisy sendoff, but I like where it comes in and interacts with everything up to the Falcon.
I would say that the ghost shot’s brevity would help hide any imperfections… if there were any!
Ya got me.
Falcon takes off to “da da da dAAA daaa…”
Just straight up have the first line of the crawl for 9 be, “Somehow, Palpatine returned.”
Combining actors’ faces who either play the same character or are related in some way.
Thank you.
Was wondering, though, what music do you intend to swap with for the end scene?
Sure, I can do that! I’ll add it to my to do list.
Probably not, until the final product. I’ll probably put up a non-color corrected (not watchable due to audio not matching WIP visuals) ‘sync reference’ for commentary and subtitle work.
“Then about a year ago a messenger came to Dáin, but not from Moria — from Mordor: a horseman in the night, who called Dáin to his gate. The Lord Sauron the Great, so he said, wished for our friendship. Rings he would give for it, such as he gave of old. And he asked urgently concerning hobbits, of what kind they were, and where they dwelt. “For Sauron knows,” said he, “that one of these was known to you on a time.”
‘At this we were greatly troubled, and we gave no answer. And then his fell voice was lowered, and he would have sweetened it if he could. “As a small token only of your friendship Sauron asks this,” he said: “that you should find this thief,” such was his word, “and get from him, willing or no, a little ring, the least of rings, that once he stole. It is but a trifle that Sauron fancies, and an earnest of your good will. Find it, and three rings that the Dwarf sires possessed of old shall be returned to you, and the realm of Moria shall be yours for ever. Find only news of the thief, whether he still lives and where, and you shall have great reward and lasting friendship from the Lord. Refuse, and things will not seem so well. Do you refuse?”
‘At that his breath came like the hiss of snakes, and all who stood by shuddered, but Dáin said: “I say neither yea nor nay. I must consider this message and what it means under its fair cloak.”
‘”Consider well, but not too long,” said he.
‘”The time of my thought is my own to spend,” answered Dáin.
‘”For the present,” said he, and rode into the darkness.
‘Heavy have the hearts of our chieftains been since that night. We needed not the fell voice of the messenger to warn us that his words held both menace and deceit; for we knew already that the power that has re-entered Mordor has not changed, and ever it betrayed us of old. Twice the messenger has returned, and has gone unanswered. The third and last time, so he says, is soon to come, before the ending of the year.
When synthesized audio that mimics specific voices is perfected, I’ll look forward to Harrison Ford and Billy Dee Williams narrating their ‘Adventures of’ EU books.
I’m not sure, either. Just about every beat of the movie could’ve stood to be a little slower, to be fair.
Thanks for posting, and the encouragement.