NeverarGreat

It looks really good, I don’t think I’d notice the slowdown unless you told me.

Luke spins for freedom:

https://www.youtube.com/watch?v=QQtHpq2bH1U

I mean that the ending of ESB is more pointedly existential than AOTC and it retains its focus on the core drama.

In ESB, Luke also has a loyalty to his friends which runs counter to his Jedi requirements which alone is capable of turning him from his path, except in ESB this problem is highlighted when he realizes that his entire reason for becoming a Jedi (his father) has been corrupted. It is so existential that Luke would rather die than choose. It doesn’t need to be a plot twist to serve this function, but it helps.

In AOTC, the big drama is how Anakin has a romantic interest which runs counter to everything the Jedi require him to be. However, the closest Anakin comes to breaking from the Jedi is after Padme falls from the ship, but he eventually relents. The struggle is never truly existential for Anakin, in that he must choose Padme’s life or the Jedi way - that happens in ROTS. While Luke throws himself to his (supposed) death to avoid this choice, for Anakin the choice is deferred and he ends up in a fight with someone he practically just met and who isn’t even directly involved in Anakin’s core drama. We could have just as easily followed the end of AOTC from Padme’s perspective trapped on that dune and nothing of the core drama would have been lost.

Eyepainter said:

Remove the “I am your father” scene from ESB in its entirety.

You know, that would actually make the ending of ESB like the ending of AOTC, and suddenly the problem with that film’s climactic encounter becomes a lot more clear.

Huh, I haven’t posted my height yet.

6’1.

I am officially the person who helps people reach things at the grocery store. Doubly so when I worked at a grocery store.

I agree. There could be an argument for any number of things keeping Luke on that island, but fear is on a very short list of wrong answers.

My own interpretation, based on Luke’s entire life, is that he is there because of pain.

Throughout the OT, Luke has faced fear in many forms. He didn’t let his fear of the Death Star stop him from going back and destroying it, nor did he let his fear of Vader stop him from facing this villain in Cloud City. He even accepted his fear of death when he went to the Emperor fully accepting his fate.

No, what Luke can’t bear is seeing his family dying, his friends in pain. This motivates him throughout the OT, so if Luke were to see his friends destroyed in Ben’s future, he would do almost anything to stop it. In this it makes sense for him to contemplate destroying his nephew, but it also makes sense for him to realize the paradox of his action. He cannot kill his nephew, but in doing so he dooms his friends.

He flees into exile not because he fears making this choice, or if he does the fear is fleeting, but rather because he will not choose, cannot choose. This is where I believe TLJ got Luke wrong as well. There is no shame in shrinking from an impossible choice. Ben cannot be turned, at least by Luke, and so there is no stopping the dark future that Luke sees. Any guilt he feels is misplaced, because Ben’s heart is already gone.

“I can’t get the vision out of my head…they’re my friends, I’ve got to help them!”

Except…this curse of vision will never end. Luke must cut himself off from the Force, it is the only way to stop the pain.

In the end, he is at peace because he accepts the paradox. Kylo is the relative he cannot redeem, Han and Leia are the friends and family he cannot save. But this is okay because he accepts what he cannot do and embraces what he can, though it lead to certain death.

Jar Jar Bricks said:

Isn’t the canon answer that Luke’s green lightsaber ended up with the caretakers? Funny to think about.

Wait, really?

Heh, that’s stupid. But amusing.

That’s what I think would actually be powerful about burying the sabers, though. They are blue and purple, and in the next shot the saber activates with a flash of two colors - it seems odd that it would be anything but those colors if that message is to ‘read’, at least to me.

Also: YES I KNOW LUKE’S SABER IS GREEN AND I AGREE IT STANDS FOR HIS CHARACTER BUT IT JUST DOESN’T MAKE SENSE FOR THIS STUPID SCENE IN THIS STUPID MOVIE BECAUSE SHE ONLY HAS HIS BLUE ONE AND IT BREAKS EVERYTHING BUT WHATEVER I DON’T ACTUALLY CARE.

Ahem. Please continue 😃

Hal 9000 said:

Also, Rey’s saber lights are green and blue, referencing presumably Luke and Leia’s sabers but not that she used their crystals. Having green and purple would retain this nod for this edit. I’d prefer that over blue and purple.

Counterpoint - Rey never sees Luke’s green saber and unless she heard stories about it’s color somewhere she would only know his blue one, the one she is obsessed with ‘earning’ throughout the film.

Thanks for catching that, I just checked and one of the layers had its animation turned off.

I’ll upload a fix shortly.

This must be done.

ThisIsCreation said:

Airbrush Luke out of the Yavin celebration. Make it so the death star blows up and instantly kills luke too.

The sequel trilogy then becomes about finding the ghost of Luke and Rey’s unreasonable demand that he come out of ghost retirement to save the galaxy and then give up his ghost body to truly dissolve into the Force, before inexplicably returning for one scene.

JEDIT: I suddenly realize that this is actually a really interesting idea, or a version of it where Luke dies in the scene where he tries to kill Ben.

I’ve gone ahead and masked around Rey as she burns the TIE, so the cliffs and sky behind her should now be consistently dark. Hal, I’d recommend just applying the 20% overlay only to the quiet log time if that’s the problem area.

As far as more tweaks and changes, I’m honestly ready to let this one go, so if anyone wants to use the full renders to make further adjustments I will send the link. 😃

AntonioGK said:

I’ve read about the crackling saber VFX, but could someone please tell me more about it? Why and where is gonna be done?

It will be applied to Luke’s blue saber in every scene to imply that Rey’s repair wasn’t fully successful in fixing the broken crystal, and also to thematically illustrate her fear of an inner darkness in the film.

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

…which I guess means that the only time Anakin was without a master was the last few minutes of his life.

I feel like TLJ did the double agent angle even if it might have been unintentional on the director’s part. It’s a shame that TROS didn’t run with this idea that Kylo would attempt to find what he considers to be a balance between light and dark for his new Empire, essentially finishing what Anakin started and enacting some distorted version of Luke’s philosophy of balance and rejection of the past.

Guess I set myself up for that one.

Jar Jar Bricks said:

ThisIsCreation said:

Jar Jar Bricks said:

I agree as well, but that’s slightly out of my talents haha.

I tried your new line and it sounds completely natural now. But it does feel a little squished. Needs some space to breath.

id like to hear the newer version you made.

Also Nev, I’m not entirely sure why you feel they are no longer a master/apprentice. She is still being taught by Leia, and if he weren’t dead, he would still be her master.

I’m not saying they aren’t master/apprentice, just that their relationship doesn’t need to be stuck at that level.

It would be like Luke returning to Dagobah only for Yoda to say ‘The final exam I have for you Padawan Skywalker, multiple choice, it is’. No, he gets right to the final task.

Personally, I don’t care for talk of lessons this late in the story, since by this point they have surely moved past the teacher/student relationship.

I wonder…what single question could be posed by a time traveler to a denizen of the Star Wars galaxy to best ascertain the precise time period?

Excluding the obvious, like ‘what year is it?’

I hate that you forced me to read that aloud.

It’s true that films of the time were finished in 2K, but in order to make sure all the detail is gained from a film print, it is often scanned in 4K or higher. It’s basically like the detail of the 2K master is ‘scattered’ across the fine grain of the film, which is in danger of sometimes being lost in the grain structure unless it is scanned in sufficient detail to retrieve it. I hope that this isn’t more confusing, it’s just difficult to describe without viewing 2K vs 4K film scans.

BrotherOfSasquatch said:

And finally, in regards to the new “night to day” Ahch-To scene… I know it’s pretty much locked in now. However, I was reminded of the TLJ announcement video that includes a shot of Skellig Michael that I had never seen before in the films. I thought it could be something to maybe look at and possibly replace the documentary footage I think the current scene has now.

https://www.youtube.com/watch?v=GQQMLE4FuIQ

That’s actually a very nice idea! Putting in some distant fire, and…

https://mega.nz/file/jVlmmaSZ#K0wtsm6v1FZYQWXcH4_-Umu2VPo1lY-jxZiROznOtxk

You could kitbash the sound of the word if you had him saying ‘heard’, ‘bird’, ‘word’, etc.

Oh but that makes him fancy! 😉