NeverarGreat

bbghost said:

BrotherOfSasquatch said:

bbghost said:

I really never had a problem with Hux being made a farce of, or “they fly now” (yes it’s corny, but that’s Star Wars, right?)

It wasn’t until I found this forum that I realized so many people HATE that “They fly now” joke. I will never understand it. lol.

I think the fact that it was in the first clip they released from the film didn’t help! People were kinda set to hate this thing regardless, and the joke became a bit of a pre-emptive flashpoint for that.

That’s exactly it, the joke was just the first really goofy bit of the film people saw so it devolved into vicious mockery in the comments. In all fairness it is a pretty brainless line.

I’ll probably try doing a subtle effect during a few later shots where we can see her eyes, for continuity’s sake.

https://vimeo.com/562525043

Password: fanedit

Video updated again. This one gives a bit more brightness to the yellow to prevent the eyes from looking brown, while also retaining the red rim. The whole effect is applied at 80% strength so it’s still more subtle than the first iteration. I’m pretty happy with it, personally.

I’ve tweaked the eye effect to be more in line with the prequel version - a slightly red iris rim with yellow interior. It’s also more subtle. With this more subtle version I’m not sure it would read well on anything further away than this extreme closeup, so it may be unnoticeable if placed on the entire fight.

https://vimeo.com/562525043

Password: fanedit

I can certainly do a blended version. 😃

I thought about that afterwards, and it might not be too terrible a workload since we can only clearly see her eyes in a few shots. On the other hand, it might be better to leave it as just that brief moment so that people don’t think ‘Oh well Rey is just evil forever now’, and a brief moment of power could be enough to both rattle Kylo and allow Rey to win without realizing she tapped so deeply into the Dark Side.

I dunno, what does everyone think?

Thanks!

If that was part 2, here’s part 1 with the end of Rey and Kylo’s battle:

https://vimeo.com/562525043

Password: fanedit

This includes the Sith Eyes, Kylo’s fixed scar, and the smaller chasm opening.

Just saw that one today, it was really fun!

The song Blackout slaps.

Chase Adams said:

^Obi-Wan is so paranoid living on Tatooine, he arms himself with three lightsabers. 😉

Not only is he discovering the way to immortality, he knows more about the Sith’s true weakness than any other person in the galaxy.

What I’ve found helpful in creating distant sounds is to throw an echo/reverb filter on them, decrease the volume, and bring them into the surrounding speakers. Working in 5.1, it helps to bring it out of the center speaker and into the left and right, and in many cases the rear speakers as well for distant sounds that would echo across the landscape.

https://vimeo.com/560371717

Password: fanedit

I’ve replaced the video with the new version, which has a more normal speed establishing shot with some glow in the chasm followed by an extended closeup of the new chasm, then more glow in the last establishing shot. Audio has been tweaked as well.

Honestly, I don’t think he needs to say anything at the end of the scene since it feels very OT special edition to put words to a wordless sacrifice, I’d just put the single word vocalizations at the beginning of the scene so that his last word isn’t ‘ow’. 😉

Yeah, it wold need to be very brief, and for the noble sacrifice to remain strong he shouldn’t ask for Rey’s forgiveness. I think some ‘Rey!’ and ‘No!’ would work while he’s crawling toward her, just to indicate that he’s vocalizing more in this scene, then have one brief line after she comes back to life. I’m thinking in order to tie it into his character and maybe provide some closure to his ‘I will finish what Vader started’ bit, have him say ‘It’s finished’ or ‘It’s done’ right before she says ‘Ben’.

Having this note of vague finality before he dies might also help to offset the awkwardness of his abrupt death.

Movies Remastered said:

If it’s just the odd word can’t they be found within the movies?

The Crackling Saber is on hold as I got a lot of negative feedback with various scenes. The effect changes so much between day/night and with distant and close-up shots so it takes a lot of tweaking. I just don’t have that amount of time to invest in such a consuming thing atm as I’m trying to get through the other 19 shots I’m working on, plus my computer keeps overheating every time I use After effects or Premiere Pro for a long period which isn’t helping at ALL!

It’s a real shame this isn’t working for you. For the record, I thought it was looking really good in every iteration you posted.

I stumbled upon a new resource for separating vocals from music: https://makenweb.com/SpleeterGUI

You can find the source files on GitHub, but the GUI is drag-and-drop easy. Unfortunately, that means that it doesn’t have much in the way of adjustable variables.

Just for fun, I ran the Leia Hologram audio through it to see what would happen, you can download the result here:
https://mega.nz/folder/yR0SERTA#o6bkOu2Rm4nGOJO-b39A0g

In this example, the Knockout program does a slightly better job at removing traces of the music at the cost of the vocals, while Spleeter retains more vocal clarity at the cost of some low-level music seeping through. While it wouldn’t be able to create a totally music-free scene, I’d bet this program would be able to facilitate a fairly convincing music replacement in many circumstances.

Perfect.

Eh, I think every film since the first has been a bit too over-the-top ridiculous with how they’ve tried to one up the previous installments. Not that they aren’t fun, but only the first feels like a story for Ethan Hunt rather than an excuse for stunts.

I mean, their bodies are in completely different positions…

Yep, the light is red for the magma. I really wanted to give the scene that extra drama because even though we know she’s going to be rescued I believe it still gives a bit of unconscious tension 😉

It’s definitely a more prolonged sequence than in the theatrical, but it feels to me like the theatrical is rushed in this regard. You’re right that the sound effects are not totally there, a second pass at those will hopefully make it more natural like the chasms are opening closer and closer as time goes by.

I’ll definitely see about adding more camera shake and dynamism in the wide shots after playing around with putting some chasm motion in the upper right.

Apropos of nothing, but with the improved puppet show this project has taken the prize of ‘best single change of all time’ from Adywan’s ESB Revisited and the AT-AT falling on the AT-ST.

Just wanted to say that, now back to your regularly scheduled discussion.

“I’m Ben.”

“Ben who?”

“Ben Obi-wan Steve Kenobi…Solo.”

PM Sent!

Another issue that’s become apparent on rewatch is small, but crucial. The moment where the Starkiller is falling apart around Rey before she is rescued by Chewie is brief in the Theatrical version but functional. In Restructured and in this project however, I’ve had to all but remove the moment, hamstringing the emotion of the scene.

My fix is to kill two birds with one stone and move the shot of the massive chasm opening up between Kylo and Rey, opting for a smaller crack in the ground to stop their fight. The big fissure now happens when the planet is more clearly doomed, and it has allowed me to go back in and fix the Restructured issue of a half-dozen time-stretched and glitchy shots where Rey is rescued:

https://vimeo.com/560371717

Password: fanedit

What would really sell the moment would be to animate the chasm opening up in the wide shot of Rey and Finn in the forest, since here it remains just a dark, hardly visible smudge in the background.

I’ve always preferred S1 for those reasons, among others.