NeverarGreat

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! 😉

I’m still of the opinion that all the fight needs is a matte painting extending their hallway into a more dramatic room with perhaps a pit they’re skirting. Also, cutting a few seconds out of the fight to make it seem more energetic.

I think it’s pretty clear that each film does damage to the simplicity and mysticism of the original (let’s say Cosmic) Force:

ANH: The Force is a mystical energy field which binds the galaxy together. It is not necessarily tied to bloodlines and in fact is heavily implied to be available to anyone: ‘May the Force be with you.’
ESB: The Dark Side is now called that by the villains unironically, is now tied purely to ‘negative’ emotions, and the Force is strongly implied to be tied to specific bloodlines.
ROTJ: The Force is almost certainly carried by bloodlines, the Dark Side is implied to be alluring to the point of being a brainwashing spell, and the most powerful ability in the galaxy is shooting lightning at someone.

TPM: The Force is scientifically detectable as a marker in a person’s blood.
AOTC: Now even shooting lightning at someone isn’t special. A master of the Force famed for his pacifist view of the Force needs a weapon.
ROTS: The most powerful Force user in the galaxy is reduced to using a weapon and spinning like a beyblade. Becoming a Force Ghost is now an unlockable Jedi perk.

TFA: Inherited Force powers are unambiguously confirmed, doubly so considering Rey’s retcon.
TLJ: The Force is reduced by the villain to a mathematical equation and this is never refuted, only confirmed.
TROS: The most powerful Force user in the galaxy can be defeated by two(2) lightsabers.

Conclusion: Blood is stronger than the Cosmic Force, and some things (lightsabers) are stronger than blood.

JackNapier said:

It is also the first Disney film to not require a man to save the day.

Alice in Wonderland, Mulan, Lilo & Stitch, Brave, and Frozen would all like a word.

As stupid as Maul’s return was, any character can be written to become more powerful over time, and at least with Maul he would have had a ready-made justification for existing and wanting the power of Palpatine which was denied him when he fell. That at least makes him a character, unlike Snoke.

CaptainFaraday said:

NeverarGreat said:

Continue the scene from TROS where Rey bemoans that the wayfinder got destroyed, where Luke reveals that he used his powers as a Force Ghost to shield Kylo’s wayfinder from harm when Rey set fire to his fighter. He explains that this is why he was in the right place at the right time to catch the saber she threw at him.

I absolutely love this one as a Bad Edit Idea because it’s the exact sort of thing I could see somebody very earnestly trying to implement unironically.

Someone’s gotta be obsessively pedantic, how do you think I come up with this stuff? 😉

I’ve done some more tweaks to the sequence as suggested, mostly small adjustments. The biggest thing is replacing the simple feather effect on Luke’s Ghost with a proper glow:

http://www.framecompare.com/image-compare/screenshotcomparison/KGG6LNNX

Continue the scene from TROS where Rey bemoans that the wayfinder got destroyed, where Luke reveals that he used his powers as a Force Ghost to shield Kylo’s wayfinder from harm when Rey set fire to his fighter. He explains that this is why he was in the right place at the right time to catch the saber she threw at him.

I made a mockup of something like that a few pages back, actually:

https://vimeo.com/519778585

Password: fanedit

Since then the discussion has turned in favor of having a pre-dawn to morning timeline, but it’s up to the community and Hal to decide what’s best for this scene. I don’t have an opinion either way but I suppose we’ll need to come down on one side or the other so I know whether to leave the hut scene dark or lighten it gradually.

jarbear said:

NeverarGreat said:

Not at all, I can certainly bring those levels down a bit 😃

Sleep and a life is overrated anyway! 😉

Hey, I never said I’d do it right away 😉

Not at all, I can certainly bring those levels down a bit 😃

sherlockpotter said:

NeverarGreat said:

Okay, here is the new attempt at implementing these critiques:

https://vimeo.com/520121712

Password: fanedit

The fireside chat is now even darker, with much more roto work.

The second half of the Hut scene is now lightened to merge more seamlessly with the next scene.

The sunrise scene has a grade which is now at 50% strength to keep a bit more of the original look.

YES! Dude, that looks amazing. God, seriously, wow.

Just two things kind of stand out to me, and maybe I’m wrong, but…

At the second establishing shot (the wide of the fire after Luke pops up), the green on the hill behind them might be a tad too bright? I think it would either been tinged orange from the firelight, or still kind of shadowy.

When Luke stands up, it looks like a feather mask? That’s what I was experimenting with too, until MR pointed out that it makes the background around Luke’s body light up too, rather than being a true “glow” in the immediate space. Clearly I’m not an expert on it though. MR linked a video that might explain it more. That’s the only shot I noticed where the glow seemed kind of off though.

Seriously, amazing work!

There are a lot of feather effects going on with Luke, yes. I will see about toning down the green there because you’re right, but it’s basically impossible to have a glowing Luke without seeing a brightened background behind him. I chalk it up to Ghost Magic 😃

jarbear said:

Its progressing really nicely Nev, really nicely.

I’m thinking the Luke by the Log stuff is going to be the pain in the butt to work with since is glowing is different affected by the original shot’s day time coloring/brightness.

You have no idea. Luke has basically no glow in the original due to the high-key lighting, so practically all of his brightness now is due to roto work. Same thing with Rey’s hood. Luckily the scene just short enough that after working on it, I still have some sanity left. Barely 😉

Okay, here is the new attempt at implementing these critiques:

https://vimeo.com/520121712

Password: fanedit

The fireside chat is now even darker, with much more roto work.

The second half of the Hut scene is now lightened to merge more seamlessly with the next scene.

The sunrise scene has a grade which is now at 50% strength to keep a bit more of the original look.

Somebody get Adywan on the line!

Ah yes, that’s a good one.

DominicCobb said:

This is the best I’ve seen it so far, but I’m still not buying those shots in the sitting on a log scene. Way too warm and bright.

Harsh, but fair.

But I can’t look at it anymore tonight, my eyes are more tired than this movie’s cliche’s.

JEDIT: One thing that I’ve noticed while working on this is that I ‘buy’ Luke’s ghost much more in dark scenes. There’s a good reason the previous films only showed Force Ghosts at night.

To show how much I love y’all:

https://vimeo.com/519825458

Password: fanedit

No sound, for even my love has limits. And I don’t have a good source 😉

Anyway, there’s no second establishing shot since I’m not sure if it can be made dark enough for these scenes.

The fireside chat is just about as dark as it will get, methinks, and the light entering the hut is slightly brighter to give more of a gradient into morning.

It’s an interesting idea to start the island scene in total darkness. It would make sense to have a shot of the island at night from TLJ for this, maybe with a small spot of fire. To darken the flaming TIE sequence is doable, and I bet the next shots could be darkened a bit more as well to further match the hut.

Yeah, it’s best to keep the scenes together.

Here’s a mockup of what I was thinking:

https://vimeo.com/519778585

Password: fanedit

This way we can interpret as much time as necessary between hut and shore, and doesn’t spoonfeed us the answer to the wayfinder problem.

Jar Jar Bricks said:

It’s important to clarify that I’m not trying to be rude when I say the following. I think your work is really well done, Nev.

But why should we delete portions of the film in order to keep this cosmetic change? It looks like Luke’s “You have everything you need” would have to go so you could create a transition to something else for a while. I’d personally prefer to have content rather than a little less content in a different shade. What do you all think, though?

Again, I think it’s a cool idea but might not be worth it.

No offense taken!

I was just spitballing ways to make it seem like more time could pass, and in that idea the ‘you have everything you need’ could stay and just be moved to directly after ‘the thousand generations live in you’, and the transition would happen right after that. The idea would lose the lines from Rey about how she’s stuck on the island, but that feels if anything like she has allowed Luke to make her decision for her and is now committed to going to Exegol where as if you cut those lines of Rey’s we can allow her more time for her decision.

It’s not strictly necessary of course, but it might be worth looking at if people aren’t sold on the passage of time based on color grading alone.

ThisIsCreation said:

I think the scene in the hut looks beautiful and the dialogue should remain untouched.

Would having a night shot of the island from TLJ help in any way?

A night shot of the island would only make sense at the beginning or end of the Hut scene since I don’t think the first part of the sequence would work at night. If it went anywhere, it would probably go right before the Hut scene, but I don’t think it’s necessary if the time is implied to be dusk at the beginning of the scene.

The trouble is that it’s really hard to sell a nighttime look to the island except for inside the hut, so the time skip would have to happen between their conversation and the hut, which isn’t great, or between the hut and her finding the wayfinder.

Yes, it’s cut.

I wonder, what if the scene in the hut ended with ‘A thousand generations live in you now.’ (cut to Rey, Luke’s voice offscreen which drifts off into echoes) ‘You have everything you need’.

Cut to: Rey finds the other wayfinder.

This would allow Luke’s ghost an exit and give Rey a chance to think and decide what to do, maybe have a bit of sleep, then get the wayfinder the next morning and Luke’s help would then be a bit more of a surprise since he’s already had what could amount to a decent exit, with his last appearance being the fanservice icing on top of the plot cupcake.