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Topic animated logo - NOW AVAILABLE for use in fan edits and other projects

I’ve created an animated intro logo for use in fan edits. You can watch it here.

There are three variants, all available at this link. Please use this version rather than ripping from YouTube, as YouTube’s compression is awful and the original file is far superior in quality.

  • “Extended” is the full-quality version of the logo posted on YouTube.
  • “Standard” is the 15-second version: effectively the last part of the full version, but transitioning in from a plain star field rather than the Death Star.
  • “Variant” is identical to “Standard” except that it transitions in from black rather than stars, and I’ve omitted the low bass rumble from the soundtrack.
  • Use “Alpha” as a matte to key “Variant” in over a preceding shot — I have it transition from the FE•org logo this way.

I’ve also included a still PNG.

You don’t have to credit me at all if you use it, but if you’d like to, please credit St. Kilda Design (my art and design brand) rather than Roccondil Rínon.


I’m nearing completion on my first fanedit, and I’ve been maintaining a forum thread both here and on FE•org. I know FE has a number of animated “vanity plate” logos that people have made and use for their edits, and while I won’t be using any of theirs I’ve made my own (I had a specific concept in mind, which can then be modified to fit the theme of each movie). However, I haven’t seen any fanedits which use an animated OT•com logo, and I was wondering whether that was because there was a policy against this. If there is, I’m perfectly content to abide by it; on the other hand, if not, I’m very happy to make my animated variant available for all to use on their edits if they wish. (I’ve done a 2D animated mock-up, but the final 3D version will be a bit different, if I get the go-ahead.)

Scott Pilgrim vs. the Editor

Bit of news: the edit may be delayed, because it looks like I’ve found someone who’s keen and able to do the stinger gag after all. We’ll see how we go with recording and assembling it, but I (obviously) won’t rush things for the sake of meeting the Easter date.

A few other notes, just while I think of it:

  • I’m restoring the original music cues to the cartoon (they were replaced with tracks from the movie itself on the DVD release).
  • I’ll do a raw video release first, followed by a Blu Ray with extras. Said extras will include, at a minimum, subtitles, a trivia track, an alternative “clean” dialogue track, the Honest Trailer, and an updated teaser for The Hobbit. I’m considering including the original “all for nothing ending” as an alternative option, if anyone wants it. Depending on timing, the Blu Ray may also include a first look at my upcoming Matrix edit.
Scott Pilgrim vs. the Editor

I’m not using the full version of “Black Sheep”, because there just isn’t enough footage. I’ve cut a few bits here and there from the original film (mainly to tighten a reaction shot or make room for the new material, although a couple of lines and shots are gone). Far as I can remember, not having it in front of me right now, all the other deleted scenes (including the alternative “afterlife”) have been used at least in part.

I have contacted another actor friend about doing the “serial killer” stinger after all, which may push the release date out a smidge, but hopefully not. He’s French-Californian rather than Canadian, but I’d be surprised if he can’t do the accent. Nothing confirmed at this stage, but fingers crossed.

Scott Pilgrim vs. the Editor

Sorry for not posting any updates along the way with this! It’s 99% done. Most of the edits mentioned above have now been done, and the colour grading and matching is complete. Only the Lee’s Palace scene is still unfinished, and I think I’ll probably just have to restore something approaching the theatrical version; there just isn’t enough footage available anywhere I could find to include the whole song.

I still like the idea of the “serial killer” post-credits ending, but I’ve lost contact with the guy I had in mind for it. If anyone’s interested and can do a Canadian newsreader impression, I have a script ready to go, but I’m not going to hold up the edit any longer for the sake of a stinger gag. The “Summertime” music video will take its place.

I’ll be tinkering with Lee’s Palace over the next week or so, and after that it’ll just be a matter of putting together the titles and a Blu-Ray ISO.

The Hobbit: Roadshow Edition ❖ FIRST TEASER NOW ONLINE ❖

I may consider doing a shorter “no-frills” version without most of the narration and roadshow trappings, once the main project is done. In some cases it would be relatively trivial to do. On the other hand, I’m not just throwing the narration in for the sake of it; each use of it (there are five or six total) serves a purpose.

At this stage, I’m using narration:

  • in the prologue,
  • at Rivendell,
  • on leaving Lake-town,
  • for the battle flashback, and
  • for the epilogue.

The first and last serve to bookend the film and create scenes from whole cloth. I can’t see them working without the narration.

The second and third are used to reinforce the montage style of the sequences in question, and suggest the passage of time. I find that the Rivendell sequence in particular feels far too rushed without the White Council scenes, whereas it should be one of the slower parts of the film; using some quick dissolves and narration, I’m able to make it feel like a longer stay without actually lengthening the sequence. It also allows me to give Elrond an introduction that doesn’t depend on either (a) the viewer having previously known him or (b) the nonsense with Radagast and Azog.

The battle flashback (to clarify, not all of the battle will be shown this way, just the parts after Bilbo is stunned) uses it in a similar way, to give some narrative distance and set it apart as a flashback, and similarly doesn’t really work without it.

I may add some in one or two more places — I still haven’t decided on how best to bridge films one and two, even whether to cut the Eagles entirely, and a narrated montage might be one option, although I don’t want to have too many of them. I’m not wedded to keeping the Lake-town one; but one reason for it, to be honest, is just so that there isn’t an enormous gap between bits of narration, and the next one isn’t jarring.

The Hobbit: Roadshow Edition ❖ FIRST TEASER NOW ONLINE ❖

Here’s the scene!

I’ve taken excepts from Clamavi de Profundis’ 20-minute recording of the entire poem, of which I plan to use a few more verses in the second act of the film to accompany the Roäc scene.

It was a lot of fun but a lot of work to do the day-for-night grades, especially in shots including fire (ie. most of them). What may not be so apparent is that the entire flashback sequence has also received a subtle Technicolor-effect grade to give it an antique look, most apparent in the shots inside the mountain (although there are a couple of visual artefacts there I’m still working to remove) and the landscape shots at the end of the sequence.

The soundtrack isn’t final; while it does work as an entirely silent sequence, I intend to put together what I call a “partial” foley track, underscoring the scene but deferring to the music, for the final edit.

The Hobbit: Roadshow Edition ❖ FIRST TEASER NOW ONLINE ❖

Mainly behind-the-scenes stuff with relatively little to show for it, I’m afraid. The last several months have been mainly teaching myself Blender so I can create the scene of Roäc carrying Thorin’s message to Dáin (among other things, including my other edits). I’ve acquired a serviceable raven model that’s detailed enough for my needs and similar enough to the one in the original film, but it’s insufficiently rigged for flight animation, so I’m going to have to do that myself.

I am finally happy enough with the day-for-night grades in the prologue flashback to share it, and the final animation for the opening titles is now rendered and locked. The soundtrack won’t be final (I need to do a little more work to cover the seams where I’ve made cuts in the music, and I want to do a partial foley track as well), but it should be up some time next week. I’ll post a link here when it is, of course.

Work should be easing up from next week, so I’ll have more time to work on editing. The main things that need doing editing-wise are the new sequences in the second act; the only major part of the first act that isn’t more or less locked down is the Rivendell sequence, though I am still trimming here and there.


A bigger question is, what would Scarif look like a few days after the battle? My guess would be, very different.

Also, not sure if Ady has answered this, but is the Imperial March being kept in the Death Star reveal, given the full march treatment of the Death Star theme in Rogue One?

The Hobbit: Roadshow Edition ❖ FIRST TEASER NOW ONLINE ❖

Continuing to work on the animation; I’ll post a rough cut of the title sequence (probably without the titles themselves) once I have it.

Meanwhile, this week I received my CD of the operatic adaptation of The Fall of Gondolin, which just came out. There’s no particular connection to the edit, other than that both use elements of the original Tolkien text, but it’s just so gosh-darn amazing that I had to share it here. Seriously, I think it’s criminal that this isn’t the Tolkien adaptation everyone’s flipping their lid over, rather than the Amazon series.

The Hobbit: Roadshow Edition ❖ FIRST TEASER NOW ONLINE ❖

Roadshow format basically means including an intermission, and in this case also an overture, entr’acte, and full animated opening titles — in the style of the widescreen epics of the ’50s and ’60s.

The main purpose of the edit is to make a coherent single film out of the material; I’m using “Roadshow Edition” because it’s the most obvious distinguishing feature, and I didn’t want to just use my name.

Scott Pilgrim vs. the Editor

Current changes planned for the edit, in chronological order:

  • Added custom vanity plates
  • The Scott Pilgrim vs. the Animation short runs before the feature (edited to remove titles and one use of the word “retarded”)
  • Added custom retro “Feature Presentation” card
  • Added scene of Scott meeting Knives
  • Added in-scene, and Roccondil Rínon credits and my name to editor credit in opening titles
  • Added brief scene of Knives catching the bus home
  • Cut another use of “retard” (at this point, I’ve managed to cut it mid-shot, but I may try to do something a little more creative)
  • Extra lines from Sandra & Monique and Julie at Julie’s party
  • Extended version of package delivery scene
  • Extended/alternative version of first date scene, including added snow FX
  • Extended “morning after” scene
  • Reincorporated original song by Crash & the Boys “We Hate You, Please Die”, and additional business for the band
  • Extended song “Garbage Truck”
  • Added short gag with Evil Ex #1 having to introduce himself twice
  • Added short bedroom gag after the first Evil Ex fight
  • Deleted Scott’s inane comment about “being allowed to date outside your race or whatever”.[1]
  • Added a few lines at the castle
  • Added “Envy’s jealous” gag
  • Extended/alternative freak-out/hair dye scene for Knives
  • Added “even briefly-er” line from the comic
  • Added Nega-Scott’s appearance at Lee’s Palace
  • Extended Clash At Demonhead song “Black Sheep” (need to find some extra footage for this; there’s some screen test footage of Brie Larson lip syncing on the blu ray but it doesn’t match well enough. Might even see if I can dig up some location footage from the real Lee’s Palace.)
  • Slightly extended backstage confrontation scene
  • Added Envy & Ramona’s “crummy way to end things” exchange
  • Extended Pizza Pizza scene
  • Added Nega-Scott’s appearance at the after-party
  • Added a couple of bits of business to the Roxy fight (eg. “Or possibly his feet!”)
  • Added intro subtitle for Gideon
  • Extended exchange between Scott and Knives after the Katayanagi fight
  • Extended breakup (using footage from the original ending)
  • Extended “Ramona” song
  • Extended scene with Scott walking in on Wallace and Chris (twice)
  • Restored Knives’ cut line about “advanced American slut technology”
  • Extended afterlife scene

I’m not sure whether to muck with the credits yet, but I do have a few ideas. There’s some very cute screen test footage on the blu ray which could potentially be used for video cast credits, although it isn’t complete: Aubrey Plaza and Anna Kendrick are absent entirely, as are all the Evil Exes save for Mae Whitman. I’m far from wedded to the idea, but I’ll have a bit more of a poke around on the blu ray and see if I can’t dig up something that would fit. Other ideas include:

  • Restoring the full version of “Ramona” by Beck
  • Recreating the “serial killer” ending concept considered for the movie but never filmed, as a mid-credits stinger (would need to find someone who can do a convincing Canadian newsreader impression)
  • Making use of the “Summertime” music video, which can’t be incorporated into the film proper, but the song already plays over the credits.

I also have in mind a handful of minor edits to existing scenes — often as little as half a second here or there. It feels somewhat sacrilegious to do this to Edgar Wright, of all directors, but there are parts where I feel the chemistry between Cera and Mary Elizabeth Winstead needs a little tightening, and with the shifting of a line here, the deletion of a pause there, I may be able to improve it. We’ll see.

[1] I know Scott is meant to be kind of a dick, but there’s a difference between being kind of a dick and casually racist. Same goes for Kim’s two uses of “retard”, already cut — it’s true to life for how hipsters speak, but it’s unnecessary. It may be considered ironic, given I’m reincorporating a few elements that were originally cut for rating reasons, but this is more for characterisation purposes — I think the original line makes him too unlikeable. Michael Cera does play it well; Scott does appear to realise partway through the sentence that it’s inappropriate. But Knives’ response, “I don’t care,” really doesn’t help. I’ve managed to edit it such that she interrupts him at the word “date”, which serves the additional purpose of giving her a little more agency.

Scott Pilgrim vs. the Editor

Scott Pilgrim vs. the Editor | the first fan edit by Roccondil Rínon

So in the process of assembling my 3-in-1 Hobbit edit, I found myself becoming more and more ambitious, and having to teach myself many of the necessary skills, such as compositing, colour grading and sound mixing, that I hadn’t really done before. I decided I care too much about The Hobbit to be comfortable with making it my first effort, and, to be quite honest, I want to make a name for myself as an editor and build some anticipation for the main event. So I’ve decided to revisit a couple of earlier edit ideas first.

Obviously, the main point of The Hobbit: Roadshow Edition is to assemble a single coherent film telling the whole story. These edits are comparatively much smaller in scale, and the first one is an extended edition of Edgar Wright’s Scott Pilgrim vs. the World, incorporating a few full-length songs that were only heard as snippets in the original movie, adding in a number of deleted scenes and alternative takes, and so on.

It’s not strictly just an extended edition, as it removes a few elements and includes alternative takes or scenes, not just extra shots or scenes. Additionally, because the deleted scenes included on the Blu Ray were cut at various stages of the production, not all of them feature completed visual effects, and most of them require colour grading to fit in with the rest of the movie. Some were partially reshot, and so require more extensive work to match them to the reshot footage that in some cases is the only available version of the rest of the scene.

So it’s a pretty good test for putting together footage from disparate sources, which I’ll be doing a fair bit of for The Hobbit, in terms both of using bits from elsewhere in the films (see this scene for an example) and of creating whole new scenes (for example, the all-new prologue featured in the teaser trailer).

The editing process itself is fairly straightforward, and is in fact pretty much finished; after the picture’s locked, I’ll need to do some work to make sure the colour grading and sound mix all balance, and add in a handful of VFX, but that shouldn’t take too long. In the first post below is a list of changes intended for the edit.