Me too; I would love to have a series of viewings of these edits of mine, which I have maintained a keen ear toward the audio for, in a proper set up environment.
That’s just Teebo. He has no respect for anyone.
I just put a small workprint version of ROTJ on the Google Drive in the same place as the other material. It’s not intended as final for the way things look, as almost all the video clips it uses are placeholders for final source material.
Everything is where it needs to be now: Google Drive and Myspleen.
I, for one, would relish it, but I understand you’re already doing a great deal. 😃
Any chance of even a rudimentary, automatic version of this to be exported and distributed? The market is starved for ESB regrades.
ESB was sourced primarily from Adywan’s old 1997 restoration, which used an HDTV capture of the 2004 version, and ended up about 14GB in size. I put out my release of ESB at about 15GB, which is considerably smaller and of somewhat lower quality than my other releases.
For ANH and ROTJ, I intend to export them at as high quality as possible, which will put them about double the size of ESB. I would remain open to potentially ‘remastering’ ESB if a substantially higher quality color corrected release is published which looks good color-wise. I will say about Adywan’s older ESB work: the colors are absolutely perfect.
Everything but the DTS encode for the 4K83-synced release is in the Google Drive directory, and once I get the DTS encode from Ash it’ll appear there, too. It’ll also appear on the 'spleen.
Shit’s time consuming 😦
I bet it is! But, it looks phenomenal. It’s a very clean mask with no noticeable blurring, and the new background seems to fit in very well.
Strong approval!
Here’s the clip with audio, in context:
I’ll implement it and make sure it works in context, but that look great to me. Elegantly close to the original (well, SE) shot while making the change needed. Thanks for the great work!
Currently exporting the SE ROTJ audio, synced to 4K83. Perhaps unsurprisingly, the only thing I had to do to the project timeline from the GOUT sync was to undo trimming the audio for the frames the 4K83 used which the GOUT omitted.
Thanks, Ridley! The Falcon being depicted as in hyperspace for that sequence is a welcome surprise for this project. 😄
I’ll just leave this here for now: the raw shot itself. 😃
https://drive.google.com/open?id=1cbyrGwZNVKa3JW0zSXrTwZwxyzrKH6sf
Ridley’s clip will be best, I suspect. Would you be willing to modify the earlier shot of the Falcon in front of a hyperspace tunnel as they arrive where Alderaan used to be to correspond to it? I hate to ditch the original effect wholesale, though, but continuity would be more important.
Here’s the best I was able to do, which isn’t an improvement over that clip. Better not to watch it at all:
https://vimeo.com/user19320109/badmockupime
Here’s a super bad mockup of how that shot could look. If NeverAr, Ridley, or anyone else would like to implement it, it could be a good solution. The mockup doesn’t really do a good job of showing how it should look, though.
Yavin should probably already be in frame, or be brought into frame separately from the sped-up/altered Falcon element, because the camera pan up tracks the Falcon’s original movements. It need not sync precisely with the original shot, and probably should be a little longer to allow for a brief period of time of space prior to the Falcon emerging from hyperpsace. I can do audio for it, of course.
Poor mockup: https://vimeo.com/314282341
The other question is whether the Falcon in hyperspace for a few seconds right after Tarkin says, “Terminate her immediately,” would need to be tweaked to correspond to whatever the hyperspace tunnel looks like in that scene.
Yeah, you’re right, we see the Falcon enter hyperspace from the exterior, from a head-on perspective. Either way, I don’t think the scene needs to have an establishing shot or show the Falcon exiting hyperspace, but I could understand wanting to have the latter. I’m open, certainly, though, if the hyperspace effect can be pulled off in the first place.
After spending some time trying to layer various hyperspace tunnels over one another, I can’t come up with anything that looks better than the clip Ridley just posted. You’d only need to use the top half of the frame, zooming and centering the white center at or just below the end of the Falcon’s cockpit.
Another question is whether the earlier hyperspace tunnel shot in ANH needs to be adjusted to correspond.
I’d be open to your idea, but I wasn’t planning on adding or altering any other shots. Vader establishes moments before the scene that the Falcon “has just made the jump into hyperspace,” so I don’t feel like an added establishing shot is necessary. Stylistically, ANH never depicts ships entering or exiting hyperspace in exterior shots, so I don’t have any problem with leaving everything else as is.
I assume when Adywan publishes his color corrected ROTJ, it’ll have the corrected sequence like that, since it’s what he’ll work from going forward. If not, we’ll figure something out.
It’s really only two frames? Ugh, why break with the GOUT sync for that? I’ll still do it, though.
Also, let me draw your attention to the ‘ANH:SE Radical Redux’ thread, in which snooker is working on adding the hyperspace effects to the scene onboard the Falcon after they escape the Death Star. Right now, the standout issue seems to be making the hyperspace tunnel look right for the front-facing dialogue shot, without more than one or two known video sources.
Discussion begins about halfway down page 65:
https://originaltrilogy.com/topic/The-ANHSE-Redux-Ideas-thread-Radical-Ideas-Welcome/id/10131/page/65#1266432
I certainly don’t want to get into any efforts to tamper with that. I kept the full 2011 planet montage, using a patch of audio from the Tatooine portion to mask the “Wesa free” line which was in every channel.
Other than, y’know, having almost any of my final sources available, it’s as done as it can get. I might just put a workprint version on the Google Drive as a placeholder. The biggest thing missing is Ridley’s work with the Sarlacc (original version is used now). And I have only eyeballed the various 4K83 shots to get them to roughly match in order to produce a placeholder export.
For reference, here’s a cap of the only time ANH shows us a head-on hyperspace tunnel:
Anyone know how Adywan produced his version? His looks like this, granted, he replaced the earlier tunnel shot also:
I wonder what your version would look like, snooker, if the white center was shifted downward, even if it means zooming into the tunnel somewhat to make it fit, and maybe blurring it to compensate. I don’t know; it’s hard to say without having it in front of me to screw around with.
JEDIT: I will say, in ROTJ the center of the hyperspace tunnel appears as Adywan depicted it: toward the bottom of the window. It’s hard to show in a screenshot, but you can see it as they revert to realspace since the stars center toward the bottom of the cockpit window.
Because after his redemption and death he is restored in the Force to the way he ought to be rather than the way he was.
Exactly. His ‘repentance’ was enough. When he died, he was restored, not merely regressed.
I see you put “repentance” in quotes.
Err… yeah? I did that only because it’s a weird word to use for it but the best word for the task. Unless there’s some reference you’re making that flew over my head.
