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Complete Comparison of Special Edition Visual Changes

I apologize if anyone else has already pointed this out, but in addition to the widely-known fast receding of the Star Wars logo in ANH in '97 and later versions, the appearance of the logo itself was also redone (hastily, it appears) in '97 to look thicker.

I mention this because I just noticed it, and it’s not mentioned in the Star Wars Visual Comparison photo gallery.

Also, the D+ (2019, well technically 2012) version seems to be a tad thicker, but I’m not sure if that’s due to other quality factors. But it still has the same messy strokes as the '97 and '04/'11 versions.


The Last Jedi: Rekindled (V3 WORKPRINT AVAILABLE)

poppasketti said:
IA suggests a V3 but without the radio scene at the end. I’m hesitant to do this, because without the radio scene, these tweaks really don’t address my main goal for V3, which was to adequately tease Palpatine so that TROS doesn’t come so out of left field (no matter what version of TROS you watch).

I must not have been catching up with this stuff very well, because I didn’t know you were working on other Palpatine teases as well!

The Last Jedi: Rekindled (V3 WORKPRINT AVAILABLE)

Definitely the best version, but I still vote to not integrate it into the full edit. Or, if you do, have two different versions: one with and one without.

To me, anything dealing with TROS feels like a mixed bag at the moment (given that it hasn’t gotten a home release yet and it’s still a brand new film), so I just prefer to keep TLJ 100% TLJ-focused. It also doesn’t help that many people have very different ideas as to how the story of TROS should have been handled. But that may change in the future.

The Last Jedi: Rekindled (V3 WORKPRINT AVAILABLE)

The Palpatine Contact scene is really well done (all those versions are), but I feel mixed about incorporating it into the edit.

  1. If it’s going to be incorporated into the project, it needs to be perceptually perfect. It still feels obvious to me that it’s a manipulated still image, when it shows the waveform of Palpatine’s voice on the screen. Improving this beyond how it already is would involve creating an entirely new CGI shot, which might be interesting as its own project (I would totally be willing to experiment with that since I’ve worked with computer animation, but I already have enough projects on my plate).
  2. Some have complained that the Palpatine reveal in TROS would have been better if it were kept a secret and not revealed until during the action of the film itself. This edit seems to almost do the opposite. But at the same time it’s also sorta neat to have a subtle and obscure hint at Palpatine’s existence.
The Force Awakens: The Starlight Project - <strong>WORKPRINT RELEASED</strong>

I’ve just watched the workprint, but hadn’t written a review until a decade later. 😉

Bear in mind that I did not read the entire thread (considering it’s 42 pages long, and only the last couple have had the workprint released), so I may be repeating things that others have said.

Since it is a work-in-progress, I’ll only critique on the content of the edit, rather than the nit-picky things. (Though if you’re looking for a nit-pick technical review I can do that too.)

It also seems that I might be a harsher critic of this edit. However, I have tried my best to be as constructive as I can with my criticism. It’s not a horrible edit at all, it’s just that there are a few areas that I feel differently about.

Poe’s interrogation: The hinting of SKB felt much too early in the film. However, taking out the first shot of SKB in the wider view might improve it, in order to make it a little more subtle and less apparent. I also feel that the shots inserted in-between could be shortened to make them appear in a quicker succession.

I don’t think the next shots with BB-8 in the night is really necessary. We already know he went with Rey, and it’s a really really short sequence anyway. It’s also obvious to me that the first shot is a re-used shot but zoomed in.

The added sounds leading Rey to Luke’s lightsaber: I feel the sound effects here should be a bit more varied than just the “No!” child screaming sounds.

Rey’s dream sequence prior to the interrogation: I mentally associate fade-to-black transitions between shots with trailers very strongly. Perhaps, you could try cutting out the first shot we see of Rey and extending the black before the first shot. Also, is there some sort of effect that could be applied to shots to make it feel more like it’s a dream sequence rather than a montage? (Maybe the chromatic abberation effect you had for the ending Luke sequence, or some blurring, or even some level of discoloration.)

I feel like the whispers are used a little bit too much here.

I think the voices should be a little more echo/reverb-y here, to distinguish them from the dialogue heard in the actual scene.

This music always takes me to the scene in ANH where Luke finds the Lars homestead raided. I actually don’t know if this was used in the original TFA, this workprint is the first time I’ve seen any TFA in a while.

“Force voices” could have more reverb or echo. Also the complete silence feels a little weird, perhaps have some ambient effect or something here.

I just came fresh out of watching the beginning of The Last Jedi (mainly to nail down the volume for various TLJ: Rekindled QC tests I was doing), so this shot sticks out to me.

Rey’s dream is probably the one thing I’m the most mixed about. It’s an interesting idea, and it takes advantage of the fact that the footage of Rey finding Luke in TFA is different from TLJ. However, for me, a dream sequence works best as a continuous sequence, rather than having outside ongoings interleaved with it. And how would Rey know what Luke looks like? I also prefer to see the footage re-used from TLJ as little as possible, especially since TLJ is the film that comes right after TFA.

Everything else I liked, content-wise.

The Last Jedi: Rekindled (V3 WORKPRINT AVAILABLE)

Just watched the V2 (I also had seen the V1 beforehand). Excellent edit! The fan-made VFX work was really well done too.

My only major complaint (which I had for V1 and is still the case for V2) is that the reinserted “Where We Belong” deleted scene has the volume noticeably higher than the rest of the film. When I was playing this on my surround system I had to turn the volume 5 levels down during that scene just to make the dialogue at the same volume as the dialogue in the rest of the film.