My personal hope is that an older Grogu joins Rey’s group in future EU material.
Hopefully! Ugh, can you imagine Finn and Grogu as trainees together? I respect that John says he’ll never come back, and it’s for very valid reasons… but that would be something I’d love to see.
As for Colors, I think it makes sense for Rey to have a yellow blade. I think the issue with Ahsoka was she hadn’t earned it yet.
As for being the last Jedi, Ahsoka is not a Jedi, so Ezra’s fate would be the only non-Rey Jedi at this point.
I typically use FFmpeg for conversions. It’s a bit more confusing to use than Handbrake, but I find that it’s faster, and the output is generally a higher quality too. Another benefit over Handbrake is that Handbrake will try to re-transcode the entire video; whereas FFmpeg can simply repackage the video and audio tracks into any other format container. In other words, it can convert your file to a compatible file type without losing any video quality.
If you just need to convert it from
.avito, for example,.mp4, you can do that really easily and quickly with this command (remove the square brackets and add the file name):
ffmpeg -i "[source file].avi" -c:v copy -c:a copy "[output file].mp4"(In layman’s terms, this means “Run FFmpeg. Use [source file].avi as the input file. Copy the video and audio tracks without transcoding them, and output them into [output file].mp4”)
If you need to convert the audio codec -
aacaudio tends to work well when I’m editing - you could do that with:
ffmpeg -i "[source file].avi" -c:v copy -c:a:1 aac "[output file].mp4"(Run FFmpeg. Use [source file].avi as the input file. Copy the video track without transcoding it. Convert the 1st audio track to .aac, and output the video and the audio track into [output file].mp4")
Except if it’s a codec issue beyond container, then it’s not solving the issue. If something is an avi, it’s not likely H.264 even though the new container of mp4 would suggest that. If a program, especially a non-linear editor, can’t read a file, it’s far more likely a codec issue than a container issue.
Also, transcoding doesn’t lose quality just because it’s changing formats. For example, to use ProRes codecs as an example, you cannot add quality that wasn’t there. So, some people will transcode H.264 into ProRes 422 or ProRes 422 HQ for editing, and scoff at using ProRes 422 LT: all have higher bandwidth than H.264 and will not have any quality loss. Look at the data rates capable from codecs, if the source codec is at a lower rate than the destination codec, you won’t lose quality (unless you set the transcode to compress the file or something). Using something too much higher in bandwidth will just create an unnecessarily large file.
FFmpeg is a good tool, but if you’re deep enough in knowing how to use codecs and such, I feel like you’d be using better tools anyway. That’s why I generally don’t recommend it to people.
Disagree on the gatekeeping of tools, FFmpeg is the perfect tool for working with re-encoding codecs, it’s not just for changing containers. There’d be no reason to need anything else other than FFmpeg and your video editor in the context of fan editing movies, working with ProRes, h264, etc. From my memory handbrake only encodes in distribution formats which is built on compression which means losing quality, and that’s what he was referring to, so I agree, I do not recommend that program for people who want to edit movies. If you want to avoid editing h264 because it can be buggy and slow, then go with a good visually/near lossless format that’s built for editing, like ProRes or DNxHD and the specific format depends on your needs, but the unnecessarily large file is the whole point so that you can have it an editing format without losing visible data, you can even use a proxy if your computer is too slow.
Not gatekeeping, it’s just a difficult tool to learn for beginners, and if you’re not a beginner you likely have better tools. That’s all I was getting at.
Most NLEs come with encoders (Final Cut has Compressor, Premiere has Media Encoder, DaVinci Resolve has it built into the main app, etc.) that are far more robust and capable, while also easier to use. My original comment was more that Handbrake can read most things, and give you an H.264 of the same quality of the source, and if you’re on a setup where you can’t edit with H.264 you can use one of those other tools instead.
I do this for a living, and I started with fan-editing. I’m just trying to give advice for every skill level, and I think giving command-line instructions for FFmpeg is not really accessible to every skill level.
I guess, just disagree at the core - because I think ffmpeg is quite easy to learn. You tell it what to do and it does exactly that, plenty of resources online. People are just scared of command prompts.
Are you referring to turning ProRes into h264 for editing because that doesn’t make any sense to me so I don’t think you are, but if you need to watch something that’s ProRes and need it in h264 then why not just export it as h264 in the first place, no additional handbrake is needed.
Also you’d be surprised, plenty of professional editors use ffmpeg in their work flow, I just think it’s giving the wrong idea to say “there’s better tools out there” because ffmpeg is one of those better tools for being free to use, the learning curve can be tough for some maybe, and yeah Disney’s not gonna bust out ffmpeg for the next Star wars films but to any editors out there ffmpeg is very solid and will fulfill all your needs for free even past just doing fan edits.
If anyone needs help setting it up feel free to DM me, I mainly use it for repackaging video and audio into different containers very quickly, or adding custom audio tracks like DTS-HD MA onto an Mp4 or Mkv that I can’t get out of premiere.
We really don’t need to get into this again… but I can assure you Lucasfilm does not use FFmpeg. I’m quite sure about that. They use Avid for editing, and DaVinci Resolve for final color on EXRs.
The main process I know of people taking their BDs and ripping them starts with making an MKV, converting that to H.264, and then converting it to ProRes or DNx if their system struggles to edit with H.264. I personally edit in those H.264s, because there’s no real reason not to with the changes I’m making.
To each their own, but if someone is struggling, and not an expert in command line, I still would not recommend a command line tool.
Visually I like it. The more mechanical nature of her lightsaber feels personal based on her experience as a parts scavenger.
Same. I like that it’s a design beyond the basic retread (like, did we REALLY need another movie with Anakin’s/Luke’s blue lightsaber?)
Haha! If you decide to redo things, let me know. Might have a couple tools/assets that you find useful.
If you do that, there should be some sort of establishment, maybe in the crawl, that the New Republic has already fallen.
If I knew in 2013 what I know now… my life would be unrecognisable. Across the board.
What’s your source file? Going to DNxHR HQ might be overkill, especially if you’re starting with a 1080p BD. These formats have “HQ” at the end, but you can’t create higher quality than you start with, even if the files get bigger. DNx is effectively ProRes for Avid.
And I understand what you’re talking about with FFmpeg. It’s a great tool when you know what you’re doing. My point is that anything that forces people to use command line isn’t simple, and would be the last thing I suggest to anyone without a good understanding of how to use command line tools.
422 HQ might be overkill depending on your source, you won’t be able to make something higher quality than what it was to start with, but you can make the files larger.
What’s your source? If it’s a 1070p BluRay, you likely don’t need more than ProRes 422 LT. If it’s a UHD-BD, you might need to go to an even larger format to handle the HDR aspects, like ProRes 4444.
Handbrake has lots of settings, some being quite hefty variants of H.264. The default isn’t a great setting, and I always make sure I set it to a constant frame rate that matches the source (23.976fps or 24fps)
I really like Media Encoder, which is part of Adobe’s suite. There’s also Compressor (part of the Final Cut suite) and a few others. It partially depends on what you edit with and what will integrate best with that. DaVinci Resolve is also really powerful at transcoding, and has a built-in NLE (it was originally just a colouring app, not it’s quite expansive).
How would this be implemented? Are those all lines Christiansen or Lanter recorded in the films or series?
I much appreciate the layman’s terms as all this export stuff is completely new to me. Way too many encoders and options but I always render in ProRes with .mov files but nothing I’ve rendered this year plays back in real-time anymore and neither Premiere pro nor After effects allow me to playback without glitching. It’s killing my workflow. 😦
If you want to PM me, I can Try and help diagnose what’s going on and see if we can get your workflow sped up.
Like, I literally used to work at a film school teaching editing between commercial gigs I used to work before getting on a show. I’m not trying to be a dick about it, just don’t know that everyone here is ready for the messy app that Streamclip is.
I typically use FFmpeg for conversions. It’s a bit more confusing to use than Handbrake, but I find that it’s faster, and the output is generally a higher quality too. Another benefit over Handbrake is that Handbrake will try to re-transcode the entire video; whereas FFmpeg can simply repackage the video and audio tracks into any other format container. In other words, it can convert your file to a compatible file type without losing any video quality.
If you just need to convert it from
.avito, for example,.mp4, you can do that really easily and quickly with this command (remove the square brackets and add the file name):
ffmpeg -i "[source file].avi" -c:v copy -c:a copy "[output file].mp4"(In layman’s terms, this means “Run FFmpeg. Use [source file].avi as the input file. Copy the video and audio tracks without transcoding them, and output them into [output file].mp4”)
If you need to convert the audio codec -
aacaudio tends to work well when I’m editing - you could do that with:
ffmpeg -i "[source file].avi" -c:v copy -c:a:1 aac "[output file].mp4"(Run FFmpeg. Use [source file].avi as the input file. Copy the video track without transcoding it. Convert the 1st audio track to .aac, and output the video and the audio track into [output file].mp4")
Except if it’s a codec issue beyond container, then it’s not solving the issue. If something is an avi, it’s not likely H.264 even though the new container of mp4 would suggest that. If a program, especially a non-linear editor, can’t read a file, it’s far more likely a codec issue than a container issue.
Also, transcoding doesn’t lose quality just because it’s changing formats. For example, to use ProRes codecs as an example, you cannot add quality that wasn’t there. So, some people will transcode H.264 into ProRes 422 or ProRes 422 HQ for editing, and scoff at using ProRes 422 LT: all have higher bandwidth than H.264 and will not have any quality loss. Look at the data rates capable from codecs, if the source codec is at a lower rate than the destination codec, you won’t lose quality (unless you set the transcode to compress the file or something). Using something too much higher in bandwidth will just create an unnecessarily large file.
FFmpeg is a good tool, but if you’re deep enough in knowing how to use codecs and such, I feel like you’d be using better tools anyway. That’s why I generally don’t recommend it to people.
Disagree on the gatekeeping of tools, FFmpeg is the perfect tool for working with re-encoding codecs, it’s not just for changing containers. There’d be no reason to need anything else other than FFmpeg and your video editor in the context of fan editing movies, working with ProRes, h264, etc. From my memory handbrake only encodes in distribution formats which is built on compression which means losing quality, and that’s what he was referring to, so I agree, I do not recommend that program for people who want to edit movies. If you want to avoid editing h264 because it can be buggy and slow, then go with a good visually/near lossless format that’s built for editing, like ProRes or DNxHD and the specific format depends on your needs, but the unnecessarily large file is the whole point so that you can have it an editing format without losing visible data, you can even use a proxy if your computer is too slow.
Not gatekeeping, it’s just a difficult tool to learn for beginners, and if you’re not a beginner you likely have better tools. That’s all I was getting at.
Most NLEs come with encoders (Final Cut has Compressor, Premiere has Media Encoder, DaVinci Resolve has it built into the main app, etc.) that are far more robust and capable, while also easier to use. My original comment was more that Handbrake can read most things, and give you an H.264 of the same quality of the source, and if you’re on a setup where you can’t edit with H.264 you can use one of those other tools instead.
I do this for a living, and I started with fan-editing. I’m just trying to give advice for every skill level, and I think giving command-line instructions for FFmpeg is not really accessible to every skill level.
I typically use FFmpeg for conversions. It’s a bit more confusing to use than Handbrake, but I find that it’s faster, and the output is generally a higher quality too. Another benefit over Handbrake is that Handbrake will try to re-transcode the entire video; whereas FFmpeg can simply repackage the video and audio tracks into any other format container. In other words, it can convert your file to a compatible file type without losing any video quality.
If you just need to convert it from
.avito, for example,.mp4, you can do that really easily and quickly with this command (remove the square brackets and add the file name):
ffmpeg -i "[source file].avi" -c:v copy -c:a copy "[output file].mp4"(In layman’s terms, this means “Run FFmpeg. Use [source file].avi as the input file. Copy the video and audio tracks without transcoding them, and output them into [output file].mp4”)
If you need to convert the audio codec -
aacaudio tends to work well when I’m editing - you could do that with:
ffmpeg -i "[source file].avi" -c:v copy -c:a:1 aac "[output file].mp4"(Run FFmpeg. Use [source file].avi as the input file. Copy the video track without transcoding it. Convert the 1st audio track to .aac, and output the video and the audio track into [output file].mp4")
Except if it’s a codec issue beyond container, then it’s not solving the issue. If something is an avi, it’s not likely H.264 even though the new container of mp4 would suggest that. If a program, especially a non-linear editor, can’t read a file, it’s far more likely a codec issue than a container issue.
Also, transcoding doesn’t lose quality just because it’s changing formats. For example, to use ProRes codecs as an example, you cannot add quality that wasn’t there. So, some people will transcode H.264 into ProRes 422 or ProRes 422 HQ for editing, and scoff at using ProRes 422 LT: all have higher bandwidth than H.264 and will not have any quality loss. Look at the data rates capable from codecs, if the source codec is at a lower rate than the destination codec, you won’t lose quality (unless you set the transcode to compress the file or something). Using something too much higher in bandwidth will just create an unnecessarily large file.
FFmpeg is a good tool, but if you’re deep enough in knowing how to use codecs and such, I feel like you’d be using better tools anyway. That’s why I generally don’t recommend it to people.
Handbrake is a good free one that can transcode most formats to H.264, which is then usable by any 64bit NLE (Premiere Pro CC, FCPX, DaVinci Resolve, etc.), but you may one to put it through compressor to transcode to Apple ProRes 422 LT to use in FCP7 or other 32bit apps.
I think someone mentioned it’s .avi? If you’re on macOS, that format is generally not as compatible (regardless of Premiere, Final Cut, etc.). I’d simply recommend transcoding it first, to whatever format you’ve been using for everything else.
The 4k60 version of that Ajan Kloss shot really helps it, but the lasers going off kinda make it unusable. Interpreting the 60fps as 24fps really is key to that game footage.
If you use video game footage, capture at whatever the highest frame rate the game/capture source allows, then have the editing program interpret the footage as 23.97/24fps. This will make it look slow-motion. Then speed it up and use optical flow. That should help get rid of some of the frame rate issues.
In the topic of switching up the trees, would it be possible to re-colour the trees from Mandalorian: The Jedi? Is there a shot in there that could be laid underneath the TIEs?
I just took a peek at the episode and I’m pretty sure that every aerial shot has Mando’s ship in it so it would have to be edited out. Additionally, the camera is really low to the ground (like below the trees kinda low). Not sure that it would work.
Theoretically that’s where you’d put the TIEs.
In the topic of switching up the trees, would it be possible to re-colour the trees from Mandalorian: The Jedi? Is there a shot in there that could be laid underneath the TIEs?
The edit is starting to come together. Looking at a runtime around the 2h 25 region.
I’ll start posting some completed clips. Here’s the Tusken Raider meeting. I’ve trimmed down the speeder bike journey and cut the campfire scene.
It looks good. Seamless. What software do you use, and how do you make the SW wipes?
Thanks
I use Final Cut Pro. The SW wipes are basic transition wipes available in all editing programs.
OK, thanks. I thought you had mentioned that. Yeah, I don’t have a Mac. Cool. Thanks. I have SO many ideas for what I want to do for my “Comprehensive SW Saga.” I want to make a Rebels edit (2, maybe 3 movies from it), and 4-6 TCW movies, and also try my hand at some edits of all the SW movies (just little ones–except for RToS) and the two Mando seasons. It’s really exciting! I’m so overwhelmed by the talent here!
If you’re on PC, I’d recommend Premiere Pro, DaVinci Resolve, or Avid Media First as an editing app. Those are ordered in easiest to most complicated, though DaVinci Resolve and Avid Media First are free.
You could bring in Poe’s line about how every one destroyed “is a world saved” in the TLJ as if he’s saying it on the radio to Leia.
I don’t understand how Luke’s saber and Luke’s saber signifies unity of anyone, considering they both belong to one person. Luke being a master and Luke being an apprentice aren’t different things to be unified… it’s still just one person’s mentality.
That’s just me though.
Just added another Last Jedi scene, Rey & Kylo vs the Praetorian Guards set to BONES UK’s “Filthy Freaks”: