Hal 9000

With the dewback scene, I think this version has no less motion than the original shot, and I like the idea of dodging the terrible CGI without altering the timing of the scene (the way Darth Editous did).
I’ve tweaked the shot since the clip I posted, so the trooper is frozen in place for much less time. It’s slightly less faithful to the original but looks better in motion. (The OOT obviously didn’t have to use reversed and slowed footage to show the trooper turn to his left and then back again.)

I do not like the Mos Eisley helicopter shot, so I’m happy to avoid it and sort of split the difference between the SE’s bustling spaceport and the OOT’s shithole.
I had intended to remove the Mos Eisley shot from ROTJ, but the Naboo shot proved too different in timing once the wipe/tower was removed to be able to substitute it.

All in all, I’m happy with these for ANH. I can still try to find a way for the ROTJ celebration to work out that way.

I suggest handing out optional VR glasses you can wear while roving around the park. Through them you will see CGI robots or dinosaurs or what have you obscure your field of view from time to time.

Most of what I have in mind are not things that presented themselves as objectionable during my first viewing, although the opening ‘mother’ joke certainly did. It’s the stuff that seemed to dress Star Wars down, that framed the movie as somewhat meta, rather than playing it straight.
With all the humor throughout the OT, just to avoid 3PO swapping heads with a battle droid for now, the story played as sincere. I’m thinking about Mark Hamill’s audition tape, which he says he played as earnestly as he could. TFA, although to a less obvious extent, also seems to refrain from a totally sincere approach and preferring to stick in the safety zone of a Star Wars movie about Star Wars.
I’m not sure how else to put it right now. Perhaps they feel the moviegoers of today need the winks and nods of, “Don’t worry, even the characters in the movie know this is a bit silly.” Compared to ANH, say, it’s a subtle course change that takes things off track. And who knows? Maybe there’s no way the sincere approach would have worked. But it seems a shame to me, as much as I do like the ST so far.

Rogue One has a different tone from the ST, but it seems to play things sincerely in a similar way as I am talking about. Even Solo manages to get this dynamic right, I think, just on the other side of the drama-comedy balance.

Oh, right, what thread is this? So, uh… hopefully Rian’s trilogy in which he gets to build everything from scratch won’t need to have as much deconstruction, since it’s something he personally is building up.

You know I’m not talking about comedy as such.

There was a little more Spaceballs in the mix that I would have liked.

A George Lucas directed Jar Jar standalone. Seriously.

It’s hard to disagree with that. I’d say see how both look and decide which fits best.

I wonder if the hyperspace effect could benefit from having the white portions made a little aqua in color. It seems like in TFA and Solo the whites aren’t totally white, but have that sort of yellow-green cast to them. The effect varies from film to film, with Rogue One having only a minor case of it. It need not be pronounced, of course, just a little bit of that color. What do you think?

Wow! You’re putting a great deal of detailed work into this. THAT part isn’t surprising, of course. I think it’s gonna look better than if Lucasfilm were tasked with making the change when doing the SE.

Just a quick random thought.
I’ve always had a tulmtous relationship with my Dad, who passed away a few years ago and who I believe to have had a case of high functioning autism. I have felt a great deal of immutable criticism from him and longed for affirmations or validations which were exceedingly rare. It’s been helpful for me to recognize some of the underlying factors and the limitations he was working with all along.
One reason I appreciate the original ‘old man’ ghost of Anakin at the end of ROTJ is because not only do we see Anakin redeemed in the unmasking scene, we even get to see him fully restored into the man he should have been all along. He doesn’t revert to a juvenile state, but is legitimately restored to become what he wasn’t able to be. I know it’s a bit silly, but the image of this sort of restored man smiling back at me speaks to this deep part of me. Able to say those things to me which perhaps he wasn’t before.

^ Yeah, Mala, that’ll be there.

The wipes weren’t redone for ROTJ, and that wipe in particular takes us into material from the OOT that I’ll need to use.

I would find a conflicted Anakin ghost distasteful, as it would severely undermine the ending of ROTJ, which has always been one of my favorite things about SW.

JEDIT: Dom, you make a fair point about the realism, but I do like it a great deal for the archetypical value. It’s more about Luke at that point than Anakin per se. I suppose it’s one of many things that pervade SW with more symbolic value than realistic or intricate.

Dom, I’m curious why you feel Anakin shouldn’t have a ghost. Do you mean at all, or just in the ST? Would you have preferred he not in ROTJ either?

I wouldn’t mind Hayden in some gentle age makeup. Not to look 70 or anything, but at least older than ROTS.

How would you feel about a spirited appearance from Anakin if they made Hayden kinda/sorta resemble Shaw, and portrayed him as something like 40?

Were Boba Fett to be beheaded, say, during the Sarlacc sequence, my gut tells me it would be too much more graphic than the next most graphic thing that happens there. It’s not that Luke isn’t swinging around killing everything he sees, just that the tone of the scene is somewhat light.
I’m sure Adywan will produce an end for Fett that fits in well with what he’s working with.

During the brief cameo for C-3PO and R2-D2, change R2’s red/blue indicator light to match its depiction in ANH, which is different from all other cinematic appearances.

Okay, glad to hear it’s still up in the air. I think having him get decapitated during the Sarlacc sequence would be a little jarring in tone. (In moviemaking parlance based on how its presented; Luke’s being real murderous in reality.)

I must have missed discussion about his head being cut off. Has Ady said that’s his plan?

I’m trying to have a sour grapes attitude about this, since there’s no way in hell I’ll ever be in a financial place to afford a visit. 😉

I thought it was enjoyable, above average for fan trailers. I’m not a fan of the quick fades in and out.

Unlike his prior Star Wars thing, at least this one is viewable.

Now that I was able to take a better look at the two hyperspace cockpit scenes in TFA (not on my phone), I don’t think there’s much of a substantial difference in lighting.

That being said, I trust you implicitly. ANH and TFA depict many of the same things in different ways, with TFA being ‘faster and more intense,’ so the cockpit shots you are working on do not need to have quite as intense of a blue and white flicker all over everything as TFA does.

Thanks again for doing this; it’s great to have this to look forward to during a rough week in my personal life.

That’s wonderful. No complaints at all. Thanks for posting that second cap, because it shows how you’d already thought of that.

This shot was always lit with the idea that the ship was in hyperspace, and looks somewhat dark. The later scene being worked on wasn’t, and appears bright. It’s almost like the Falcon’s interior lights were on during that scene. Comparing two scenes from TFA of the cockpit during hyperspace travel (“I bypassed the compressor” vs. “We’re making our landing approach at lightspeed”), they each are lit differently.
The later scene may not need to be darkened much, just made bluish, since it appears to have light sources within the cockpit itself.
I say this, but it may prove different once you see it in front of you to work on.

I think that looks perfectly fine, though I wonder if less would be more. Based on TFA, the hallway shouldn’t really look blue. I think it might do better to turn down the effect to split the difference between the parts of the frame that should and shouldn’t be bluish.