I feel like to do that right the ghosts would have to step into frame during the last shot. I dunno, might ruin the simplicity and stick out.
I don’t remember, either, but it’s true. Just feels extremely fan film-y and is not needed.
Because we’ve all been so good lately, here’s this in order to appreciate it in context: https://vimeo.com/454916059
Yes, indeed. There’s not a dammed thing wrong with that at all.
Lol
“The more you tighten your grip, Disney, the more moviegoers will slip through your fingers.”
“Not after we have demonstrated the power of the streaming TV miniseries.”
Looks wonderful. Have you done anything yet with the wide shot as the ghosts begin to come into view?
I love it.
“We’re losing audience trust. Strap yourselves in while I make the calculations for audience favorability.”
It’s not too terribly far off from this, but anything to make it feel less like young Luke would help, especially his posture with his arm.
I’m sure you learned a thing or two, but I’m sorry it didn’t work out.
Having just finished re-reading Splinter, I’m going to have to strike it from my personal canon. It doesn’t fit into a post-ESB world.
I’m planning to re-read the Solo trilogy next, though, to see whether it or the film wins out.
I’m still bitter the novelization of Solo wasn’t released closer to the film’s debut, as I had hoped to read that first, able to just picture Harrison Ford in my mind’s eye and pretend it’s any old EU novel before seeing the movie.
Hallo, sir.
Yeah, I know the OP is a mess. The reason is that Kerr’s actual edit should’ve been released long ago! This is basically that unreleased project with some EE bits folded back in by me.
It’s an edit likely to be most enjoyed by someone familiar with the books who wouldn’t have minded if the films were a little closer to them but okay with that for the most part. I like to think that this bends slightly in that direction without at all compromising the films as films. There’s also quite a bit of good ol’ fan editing magic due to restructuring in TTT and ROTK.
I guess if someone can download the clip from YouTube at max quality and stitch it into the original shot, that’d be worthy of a V1.1.
Hey, thanks!
Yeah, probably, if someone can get the footage. I sent him a message once and never heard back.
Jonh! Good to hear from you. I agree its a good start, but his head seems like it was smooshed onto his body like play-doh, like his head and neck don’t mesh.
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/453744130
I’ll have to find some Chewie sounds and try to gently extend that reaction.
How’s this? It puts the music even more through the wringer, but it might be acceptable.
Nothing was removed in that moment before the ice wall is hit. If it feels abrupt it was like that originally.
I just tried tossing in a few different shots of closeups of the lever being pulled but I can’t get the music right. That particular moment and the moment before both need to have their music and sound effects pretty much left alone. Which makes it very difficult to cram something in between. I will try again later when I have a little more time, but I wouldn’t count on it.
Now, let me edit you something.
Thanks for that. I like how it fades to credits, but not how it fades in to begin with. Like you said though, it’s a moot point for the project at this point.
Thanks, Axlanian; I’ll use that!
With two small kids at home, we watch everything with subtitles these days. I’m currently chipping away at syncing English subtitles to these, and will report back when they’re finished. About 2/3 of the way through FOTR.
EDIT: nevermind
Well, I needed audio to cover the visuals, so I couldn’t use the 1997 audio for that sequence. I removed the line by looping the percussion.
Yeah, I just hadn’t updated the OP.