NeverarGreat

I just use Eevee when a recipe calls for all-purpose Pokemon, I thought everyone did that.

Whether or not objectivity exists in art is for all practical purposes a moot point. It makes me uncomfortable to admit that things exist beyond the quantifiable, but as soon as an authority posits an ‘objective’ judgement in an artistic discussion, the discussion is dead.

It can be compared to a discussion of free will. You could state that free will doesn’t exist because it’s all just deterministic quarks and charm, but even if that’s true you must put aside the objective fact and act as if the abstract awareness arising from this base matter is more than the sum of its parts.

Art has objective components, like the brain. But like the products of the brain, it also must ultimately be viewed as something which transcends its constituent parts to become more, unconstrained by judgments of the ugly bits of which it is comprised.

Congratulations on the numerological confluence!

I assume this thread shall eventually be reborn in a few years to celebrate 10,000 posts, a similarly pointless yet entirely notable inevitability 😉

I’m leaning toward a two-shot solution myself.

Since there are so many moving parts in this shot, I had rendered it out as an AVI to use in the final speed ramping and framing. It wouldn’t be too difficult to slow down the pan around the castle.

And yes, the color is still muted compared to the extreme saturation of TROS. I didn’t want to push it too far and introduce artifacts, but I’m sure it will need that adjustment before the end.

I’m hoping that someone will be brilliant and add First Order TIEs back into the shot somehow, that would be the ideal change. Of course that would happen after all the speed-ramping discussion has been done.

I am uploading two bitrate versions (prores and AVI) so people can play around with the shot and decide what’s best. PM me if you want them, but I’ll probably take a little break from this to give everyone a chance to decide what to do. 😃

Yeah, the 15x speed was really the fastest I wanted to push it, but there’s no speed ramping, just another 25% boost on top of it. I think the issues come mostly with the movement. It’s difficult to find a path that works since it goes from a pan down to the planet right to a pan up to the castle. Like I said, we may have to lose the first part of the shot and just have the Rogue One style rotation around the castle then the TIE shot.

I’ll render out a full quality version of the entire shot for people to play with.

Here’s the establishing shot replacing all three of the previous shots.

https://vimeo.com/557008192

Password: fanedit

I ramped the speed another 25% or so, and keyframed the vertical movement to play with the extra space and make it more dynamic. The only thing that’s missing are the TIE fighters.

If we wanted to keep the final TIE forest shot, it might work to just cut the first part of the castle shot and shift it to make room.

I figured that it could as easily be Kylo’s shuttle, since they have similar color and wing configurations.

Here’s the Mustafar Establishing shot:

https://vimeo.com/556942186

Password: fanedit

What was done:

-Speed 15x
-Color graded
-TIE’s removed
-Lavafall slowed
-Windows darkened
-Forest tracked

This is still a little longer than all 3 previous establishing shots, so I may be able to speed ramp the middle of the shot some more after everything else is finalized.

PM Sent!

Rush Hour.

Fantastic movie. See it.

Well Disney has been known to make edits to their streaming material after it has been released, so it’s not outside the bounds of reason.

“Lord Sidious, I have good news…should I simply say the news or do you want to hear it in person?”

“Lord Tyrannus, you know that we must meet once a month for our dark conspirings.”

“Where would you like to meet, Lord Sidious? Perhaps someplace that isn’t too hard to get to this time…say, a nondescript location near the Senate?”

“Sometimes I question your dedication to our Sith cause, Lord Tyrannus. Just for that, take your solar-powered space boat and meet me at the literal ass-end of the galaxy, like so far away and hard to find that just asking for directions is illegal.”

I’ve only done the Kylo scene, FYI, that list is just scenes that could be completed and used.

Movies Remastered said:

I’m personally making as many extending shots to Mustafar as possible, mainly for pacing and to establish this work.

Nev, that colour is amazing! Are you motion tracking the forest in the background?

I am tracking it. Parallax is tricky, but it should work with minimal distortion when done.

JEDIT: Guys, you don’t all need to quote the image.

You and me both! Tracking the forest elements will be a bit of a trick, but I have hope that it will work.

The third shot does work well right now, but for time we’d then have to lose the river of lava approachig the castle if we keep the reveal of the forest beyond.

I’ll err on the side of the longer shot just in case, since it can always be cut shorter. 😃

A Work-in-progress on color correcting and forest-ing the Vader Castle shot:

Obviously the lights of the castle will be darkened.

As far as the shot length, I’ve sped it up 1000% (10X speed) and that’s still not enough to simply replace the castle from the original 3 shot establishing sequence. I don’t want to speed it up more since the smoke and fog looks odd (and I’ll have to re-track a slower version of the lavafall regardless), so I’m thinking that it might be possible to use this one shot to replace all three.

Thoughts?

Eyepainter said:

Replace all action sequences with footage of 6-year-old boys playing with their action figures.

https://www.youtube.com/watch?v=7ezeYJUz-84

The movie also takes pains to show how Luke feels constrained by his life on the farm, so showing him in his element from the get-go would probably send the wrong message about his arc. I also like how his piloting ability is talked about but never seen until the end of the film - it’s a promise that gets a resounding payoff.

Basically, I think Luke’s piloting ability does tell, it’s just delayed for dramatic effect.

Hal 9000 said:

Aunt Beru puts tiny CGI creatures in the food processor rather than vegetables.

This could be a net positive if Luke’s indiscriminate killing of Womp Rats and other animals was to feed his family.

Watching through this edit, I realized that we don’t get Ben’s name until his confrontation with Han. I thought I had just cut a line somewhere, but no, that’s actually how it is in the theatrical as well. Even odder, Rey and Finn only arrive in the scene after he says it, so they don’t learn his name onscreen in this film. Rey has to learn his name from Luke in TLJ, as far as we know. We’re not even sure if she suspects Ben’s relationship with Han until their confrontation at the end of the film, which is odd since she’s one of our POV characters and we know this information less than halfway through the film in the Theatrical version.

Maybe keeping Ben’s name a secret for so long was to drag out the mystery of his full identity, but we know basically everything about him before that so there seems little reason for it.

All this to say, I thought it would be interesting to work in Ben’s name earlier in the film. It would be fairly easy to put this info during Rey’s force vision by having audio of Luke’s “Ben, no!” when he is killing in the rain. That way Rey and the audience learn his name at the same time, and it’s close to the confirmation of his familial origin.

What would be even better would be to have Rey use this information during her interrogation to rattle Ben instead of talking about how he fears not being as strong as Vader, which isn’t really supported by the rest of the sequels. I tried making her final line ‘You’re afraid…that you will never be [] strong as Ben Solo!’, but it is an odd sentence structure that loses its original impact. The ideal line would have been ‘You’re afraid…that you will never be more than Ben Solo!’, but of course that would have to be frankenstitched to death.

Ah well.

It still looks heavily blue, but I’d be interested in seeing more comparisons.

That’s my secret: every sequence is a load-bearing poster of Krusty the Clown.

PM Sent!

I’m planning to use as much TFA footage in the alternate ending as possible. The TLJ footage of her waking up will be replaced with a more straightforward image of the island.

That’s the plan anyway, but I don’t need to worry about that for a while since that won’t be in Starlight Standard.