NeverarGreat

I’m hoping to get the fully complete version of this out soon, but in the meantime I decided to use the updated Color Correction tools in Premiere 2019 to see if I couldn’t improve one of the shots that I felt never got its due in version 1:

https://diff.pics/hPh52iqZu7jm/1

The second image is the Tech V1, notice the flat and orange skintones versus the update.

oojason said:

^ by https://www.instagram.com/camveefx

(a fair few more pieces of quality SW art on there too)
 

Now I imagine an alternate ending to Episode 8 where Rey is shown holding one half of the lightsaber on the Falcon. Cut to the Supremacy, where First Order salvage crews are evacuating before its demolition. As it is engulfed in explosions, Kylo watches from the bridge of one of the few remaining Star Destroyers, holding the other half of the lightsaber in his hand. Credits.

EddieDean said:

Can she wake only after the weapon fires (which with yours as with Hal’s, comes after Han’s death)? A bit of artificial camera shake?

Not sure I understand this.

Also, random idea: What if Takonoda had evidence of habitation? I’m thinking some cities visible from space and in the distance in the establishing shots. I think it would convey that Han is taking our heroes into the Republic proper, a more civilized place than for example a cantina on Tatooine. The patrons of this place already feel less dangerous than the pirates they supposedly are. The subtitled dialogue between Finn and the pirates could suggest this as well, something like:

‘I was told you could get me to the outer rim’
‘You’d be safer here in the Republic.’

JEDIT: Giving some habitation to the planet would also make Rey’s running away more logical.

https://www.youtube.com/watch?v=zHl75yymjBM&t=0s

So it’s an April 1st video, but actually kind of interesting.

Side note: The blue in ANH was often so degraded on the Blu-ray (which is why the milk just looks dirty here) that I had to isolate the milk in one shot of my Technicolor project to return it to its original hue.

Wouldn’t that have worked better as The Forks Awaken?

Indeed.

I’m struggling right now on the end of the movie. I’d like to move the final scene if possible, but there are limited options. The most promising to me is to place it after the interrogation:

https://vimeo.com/327124146
Password: fanedit

I tried including some dialogue from Kylo about the island, but it feels more powerful without dialogue. Also, should Rey hear Hux’s speech or should it transition without her waking up?

JEDIT: I’ve also tried to place the scene after Kylo witnesses the sun draining but before Rey tries to escape, yet the problem is simply that it feels too much like she’s actually on the island rather than in a dream. The costume is problematic as well. Really at this point I’m just interested in repurposing the music somewhere.

DominicCobb said:

Happened across this by accident, don’t think I’ve seen it before

Oddly similar to the possibly official Episode 9 Poster.

DominicCobb said:

On the other side of it, RO is obviously stretching the bounds of what could technically have happened with the dialogue from ANH in mind. But you know what? Who cares.

It’s not a dealbreaker and doesn’t ‘ruin’ either movie, but it does bug me that the fix would be so simple - just have the Tantive waiting on the edge of the battle somewhere, with the Profundity re-transmitting the plans as Vader fights his way to its comm center.

Tobar is technically correct, but I agree with Maul’s points nonetheless. There is a checkmark next to each box where RO connects to ANH, but checking the box doesn’t mean that the plotlines feel continuous. Taking Vader at his word, and assuming that the most important pieces of information are being conveyed, the scene in ANH heavily implies that the plans were beamed directly to the Tantive. It also implies that Leia thought that she could not be directly tied to the theft of the plans, for several reasons:

1. Leia is spending significant time to make a detour with vital intelligence, something that makes little sense if she knows she is being followed.

2. Leia’s cover story concerns a ‘diplomatic mission to Alderaan’ which does not explain this detour to Tatooine, implying that she was completely unprepared for this encounter and contradicts the state of play at the end of RO.

3. Vader’s conversation with the officer makes clear that the Empire is on thin ice by detaining this senator, which would not be the case if the Empire has overwhelming evidence of the Tantive undocking from the flagship of the Rebel Alliance carrying traitors to the Empire.

Mocata said:

DuracellEnergizer said:

NeverarGreat said:

That is far and away the best fan film I’ve ever seen.

Are you saying it isn’t a lightsaber duel in search of a plot?

I gotta admit this aspect of it is pretty impressive. Was this story ever told somewhere in the old EU?

I’m sure it was somewhere (Tales from Jabba’s Palace?), but I haven’t personally read anything of that nature.

http://donatoarts.com/science-fiction

Ah, I see 😃

Hal 9000 said:

Wow, that’s some great work, NeverAr! It’d be sad to lose Han’s hilarious line “If I get any higher they’ll see us!”

Well the impetus for the cuts in that scene was more to do with the time spent away from Rey than any humorous content; because her two escape attempts happened on either side of that scene I didn’t want the crash to be so involved that it sapped significant tension from the escape.

Hopefully the feeling of this scene is more akin to a car crash - violent, out of control, and over before anyone can really react.

Another update to the Starkiller infiltration, continuing to weave the scenes into a more interconnected whole.

https://vimeo.com/325586676

Password: fanedit

So there are a lot of changes throughout, such as a shortened Falcon crash landing and additional lines for Phasma from the Battlefront game. The shortened crash was actually a suggestion of my girlfriend, who has been pushing for a less jokey final act. Her thesis for the humor of Star Wars is that by the final act of a movie the humor is almost entirely physical/situational rather than quippy lines due to the earnest tone, which I quite agree with. That is also why Finn’s dialogue with Phasma is shortened.

I’m still having trouble integrating comm chatter into Rey’s cell. Ideally it would inform her of the Falcon’s landing and add that final impetus for her escape.

https://i.imgur.com/UQg03Nd.mp4

Hal 9000 said:

That’s pretty good! I like how you repurpose the few shots at the beginning that the ‘Restructuring’ had to exclude.

I have vowed never to rest until these shots are returned to the film 😉

RogueLeader said:

That’s pretty cool! That’s a nice new transition you’ve made, and it sounds good. I also like the quick cut to Kylo Ren’s face and the intense strings, during Rey’s second attempt.

In this version, you do lose that idea you had though about Han and Finn’s arrival distracting Kylo and buying Rey enough time to escape. Although I’m guessing you’re still trying to imply their arrival somehow encouraged Rey to try again, right?

It’s true that most of that idea has been lost, but it could still be up to interpretation as to whether or not Rey would have escaped the cell block if Kylo hadn’t been distracted by the Falcon’s arrival. I didn’t intend to imply that Rey could sense the Falcon here, but that is certainly one interpretation. Maybe if there was some dialogue from the Trooper’s intercom to that effect…

As you may have noticed from the previous clip, I’ve moved Kylo’s watching of the Starkiller weapon to later, and put some work into Rey’s escape attempts:

https://vimeo.com/323990777

Password: fanedit

The shortened dialogue with Kylo at the end gives some ambiguity as to which sensors were triggered, hopefully lending more tension to Rey’s escape.

Sir Ridley said:

NeverarGreat said:

RogueLeader said:

ChainsawAsh said:

Yep, that’s lampshading. And it very much does not work in this instance IMO.

Haha, you’re totally right, forgot that’s what that meant!

I know the whole concept is to maintain suspension of disbelief by being meta about it, I just don’t feel like it fits within this story. Like, it can work in certain stories, but I don’t think lampshading is appropriate every time when it can be done, you know?

Lampshading works really well in Marvel movies, since there’s always a wink to the audience as to the silliness of the situation, but I feel like Star Wars is more earnest than that.

Are you planning to keep Han’s line? “How do we blow it up? There’s always a way to do that.” That could work as a more subtle nod to the previous Death Stars and the line might be funnier if they didn’t compare it to the Death Star already.

Yep, and you’re right it might be funnier in this context.

RogueLeader said:

ChainsawAsh said:

Yep, that’s lampshading. And it very much does not work in this instance IMO.

Haha, you’re totally right, forgot that’s what that meant!

I know the whole concept is to maintain suspension of disbelief by being meta about it, I just don’t feel like it fits within this story. Like, it can work in certain stories, but I don’t think lampshading is appropriate every time when it can be done, you know?

Lampshading works really well in Marvel movies, since there’s always a wink to the audience as to the silliness of the situation, but I feel like Star Wars is more earnest than that.

Sir Ridley said:

NeverarGreat said:

More work on removing the Death Star hologram from the planning scene:

https://vimeo.com/323037027

Password: fanedit

It’s not perfect, but if you’re not looking for the change I think it’s fairly seamless.

Nicely done. Do you think the lampshading of there being “another Death Star” isn’t needed?

That’s a part of it. Another thing was brought up by someone here (I forget who), saying that they originally thought that the Starkiller was built within a planet to save cost compared to the Death Star. When they then saw how the Starkiller’s weapon emitter alone was almost the size of the Death Star, it negated that bit of cleverness.

That got me to thinking about how we never saw the Death Star directly compared to the size of a planet in ANH. If it were shown in proportion to Alderaan (assuming it’s an Earth-sized planet), it would be laughably tiny in comparison:

Even though the audience on some level understands that it’s the size of a very small moon, the way it is portrayed as large and imposing in the shot sells the threat.

So by removing comparisons to any object of reference, it’s easier to imagine the scale of the station to be whatever size makes the most sense for a person’s individual view of the First Order and their abilities.

More work on removing the Death Star hologram from the planning scene:

https://vimeo.com/323037027

Password: fanedit

It’s not perfect, but if you’re not looking for the change I think it’s fairly seamless.

RogueLeader said:

EDIT: Maybe the end of the animation could be altered to show that the Death Star internally has a multiple reactors, set up like spikes on a wheel, and instead of the proton torpedo going to the “center axle”, the center of the Death Star, it can go to one of the spokes where the explosion animation can happen. This isn’t necessary but it could be one option to help differentiate the ANH attack to the ROTJ attack.

I’m liking this idea a lot.

I think it would be easier to rebuild rather than repair, but as you say it streamlines the plot and I think adds a wonderful creepy undead vibe to the DS2 which ironically differentiates it from DS1.

And now I imagine that they literally made everything 3x larger in the DS2, so that everyone’s sitting in huge oversized chairs and pressing massive buttons from on stepstools in cavernous rooms.