I expect it would be trivial to do, although it isn’t something I’ve considered. I’m not intending to have multiple versions of this floating around, but I might consider an alternative audio track for the Blu Ray.
Yes; that shot needs either more work or replacement.
Yep, it’s linked on the first page — here it is.
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.
Not much to report for now — I’ve put this on the backburner while I get a couple of smaller projects under my belt — but I’ve got a test render from the opening titles that’s looking beautiful. Posted below (click for full size).
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 OT.com, FE.org 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”.
- 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.
 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.
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.
Thanks, I’ll definitely count you in. For now, I have a request to put out there.
I want to be able to composite some birds into a number of shots. First, a thrush flying when they first arrive at the mountain (in the scene I uploaded earlier) and possibly in a couple of other shots, to make a little nod at the thrush in the book telling Bard about Smaug’s weak point. Second, a raven (or crow) for a landscape sequence, to parallel the lighting of the beacons in ROTK, carrying Thorin’s message to Dain. I’ve got some wicked landscape footage I want to use for it, but I need the bird.
If anyone knows where I can get hold of decent green-screen footage of a thrush and/or a raven or crow in flight, that would be fantastic. I can handle the composition itself, it’s the raw footage I’m after. I’m not against using CG birds at all (that’s what they use in the actual movie, after all); CG or real or a mix would be just fine. With the thrush, any flying footage would be fine, so long as I can isolate it from the background; with the raven, soaring would be best, and mostly flying toward or away from the camera.
Day job is still insanely busy, although I’ll be pulling less overtime once daylight savings ends here. I’ve had very positive feedback from a few friends who’ve seen the day-for-night grade, but I’m not ready to upload a preview of the sequence as yet. I’ll include several examples of the grading in the final trailer, which I’ll make once I’ve reached picture lock on the whole movie. I’ve got a way to go yet; the end of the film in particular is still very much up in the air. Updates to the various chapters below.
I may want to create a new “Roccondil Rínon” plate in light of ET’s concerns about using an OT.com one.
May need some slight grading touches.
An Unexpected Party:
May need a bit of attention to the sound at transitions.
Misty Mountains song:
Day-for-night grading 95% complete. May yet move around a handful of shots.
Draft rendered for pacing purposes; music edits done. No point locking until the film’s complete.
Could potentially use some further cutting. Might do some grading experiments as well.
A Short Rest:
Not complete, but in much better shape than before. Need to do some work with sound and narration as well as the editing itself.
Over Hill and Under Hill:
A few small cuts; more may be required for time.
Riddles in the Dark:
Some minor tidying up required towards the end.
Out of the Frying-pan, Into the Fire:
Orcs cut completely, without sacrificing continuity, but the scene now feels less personal as a result, and loses all focus on Bilbo. I may eventually have to cut the whole sequence after all. If so, the edited version will show up as a deleted scene on the blu-ray.
Cutting the eagles would also make the arrival at Beorn’s more manageable.
I may need to trim it down for time, but that will have to come later, when I’ve a better idea of whether I need to lose more time and how much.
I’d like to at least have the option to use the deleted scene where the dwarves meet Thranduil, but I fear I won’t be able to manage the level of FX required. I would still like to reinstate the Tauriel scene, but as it is it’s not working.
Barrels Out of Bond:
May need some work for pacing and (haha) flow, but I’m cutting almost the entire thing so I’ve got heaps of options.
A Warm Welcome:
It looks like the song I wanted to insert here won’t work, but I’m mostly ok with the sequence itself.
On the Doorstep:
Colour grading a massive success here. Would like to incorporate a CG thrush if I can find one, or for that matter footage of a real one if I can extract it. The only green-screen clip I’ve been able to find is of one sitting and singing, not flying.
I may yet want to regrade the inside of the mountain to be less green. Pretty happy with the cut itself, though.
Smaug the Magnificent:
The shot of Smaug leaving the mountain ended up being easy to cut.
The entr’acte needs a little work to make the music flow smoothly.
Fire and Water:
I may trim this down a little more, but the only major thing left to do (althoough it’s a doozy) is to paint out Bain in one shot where I can’t crop him out and can’t cut the shot. I also want to add in a few shots at the beginning from the second film. Finally, I haven’t decided how best to deal with the on-screen title: I don’t want to cut the music or the shot short, but I don’t know how to paint it out. I’d hoped that I’d be able to combine elements from foreign-language versions of the film to complete the backdrop, but it looks like they don’t change the title on-screen.
The Gathering of the Clouds:
Needs some editing work for pacing and time, but nothing too technical. I’ve cut the reveal that Bilbo in fact has the Arkenstone, saving it for him giving it to Bard.
The Clouds Burst:
The battle is definitely in first-draft shape, and will almost certainly be cut a bit more. I’d like to reincorporate the deleted scene with Bilbo planting the acorn if I can. I understand why it was cut, but I like it.
King Under the Mountain:
The End of the Beginning, as I’ve said before, works perfectly here. I haven’t yet put together the flashback montage; unlike the rest of the film, this segment will be effectively cut to music (as well as the audiobook narration), and I haven’t yet settled on what music to use. The structure of the scene will also depend significantly on whether I end up having to cut the Eagles’ appearence in act one.
The Return Journey:
The trimming of this part is pretty much done (including an Adywan-style reordering of Gandalf’s farewell scene to restore how it seems to have been originally scripted and shot). However, it ends abruptly, due to my elminination of Old Bilbo; the transition into the epilogue will need to be done after it’s at least in a presentable draft form.
Similar to the battle flashback montage, this is the other segment that doesn’t exist yet. In addition to cutting it to narration and music, I don’t know what sources I’ll end up using for the footage itself. There’ll be some more from the Team Supertramp Hobbiton shoot, and some more from the AUJ Blu-Ray, and I’ll see what I can squeeze out of the Appendices. I’m still confident it can be done — I knew I’d need to scrape together footage from a range of sources for this bit — and I need to cut together the soundtrack first.
I’ve fiddled with the draft credits (in the process making them more closely resemble the credits of the third film) and got them down to about 13 minutes. Dave’s agreed to do the song, and the rest of the music will come once we’ve got that recorded.
After I’ve got picture lock, I’ll need to add in a lot of sound effects during the new sequences (Misty Mountains song, battle flashback) and in a handful of other places. I shouldn’t have trouble sourcing the sounds, but there’s no point trying to put them in yet.
The day-for-night grade is a success; I’ll post some comparison stills soon. I’ve been insanely busy with my day job lately, but that will hopefully ease up in a month or so. Thanks for asking!
Having played around a bunch more with Davinci Resolve, I’ve now decided to attempt to not just regrade a substantial proportion of the picture to better match LOTR, but to attempt to do a time-of-day regrade on some of the prologue scenes I’m using with the Misty Mountains song (to show Smaug’s initial attack occurring at night), which ought to help with making the flame effects look a little less animated/fake (in large part by the simple expedient of brightening them up the proverbial). I’ll be doing similar flame-brightening for the pine-tree scene and the destruction of Esgaroth.
If I can’t pull them off to my satisfaction, then that’s fine, and they can stay as they are. But I’m so impressed with this piece of software — especially running on a tiny old laptop — that I’d be mad not to at least give it a try.
I’m happy enough with the “doorstep” scene to post a preview of it. It now takes only three minutes of film to get from Esgaroth to opening the door, but I don’t think it feels particularly rushed. I’m mostly interested in feedback on the editing and colour grading; I’ve done some work with the sound, but it’s nowhere close to a final mix as yet.
This is definitely one of the signature features of this edit, so I want to make sure I get it perfect. Let me know what you think!
The assembly cut of the film is just about complete. The Rivendell sequence and the Battle of Five Armies, as well as a few smaller bits and pieces, remain to be put together in a form I’m happy with, and there’s plenty of work still to do (including attempting to trim down the running time), but I’ve come much further over the holidays than I expected.
The running time of the assembly cut is 232 minutes, not counting the overture, intermission and end credits: 155 minutes for Act 1 and 77 minutes for Act 2. Act 2 corresponds to the third original film; the transition between the first two films occurs almost exactly 90 minutes into Act 1. This is far from the final running time; I’ve yet to even begin work on the epilogue, for example, and I expect to be able to cut a lot from the Battle of Five Armies, in particular, yet. My stated target running time of under 208 minutes, based on the length of the Extended Fellowship of the Ring, should be achievable, although it should be noted that that figure includes 7 minutes of credits, whereas my credits are pushing 15 minutes (The Battle of the Five Armies’ credits, for comparison, run to 13 minutes), so a fairer target might be said to be 201 minutes without credits; I therefore want to try to lose 31 more minutes, rather than 24.
I may end up having to cut out the sole Tauriel scene I wanted to keep, for reasons of pacing and continuity, which is most unfortunate. I did a fair bit of work on it — I didn’t want to keep it entirely in its original form — and I’m very happy with the scene in itself, but I haven’t been able to make it work in the wider context. If worse comes to worst, the edited version of it will go on the Blu-Ray and DVD as a deleted scene, along with a few other scenes that I like but have to remove for reasons of pacing or running time. (The sequence of the dwarves being smuggled into Esgaroth will probably end up here as well.)
My colour grading experiments to change the “doorstep” scene to match the moon-runes (ie. to change the “last light of Durin’s day” back to the sunlight) have actually been more fruitful than I hoped. I’m now certain I’ll be able to achieve it, and I’m even able to include a couple of shots of the thrush from the end of the first film, to which I’ve been able to match the graded shots. It’s far from finished, but I’m honestly a bit flabbergasted that it’s possible at all. I’ll post some stills here soon.
The biggest news, however, is the addition of “The End of the Beginning” to the grieving scenes. I was far from certain it would work at all; it is, after all, a very different style of piece from Howard Shore’s score, and it was more just an experiment than anything. But holy smokes, does it work! The timing fits almost perfectly with the sequence as presented in the Extended Edition, and the few edits I wanted to make (fixing a continuity error, removing the horn-blower in Dale, etc.) took complete care of that “almost”. When I played back the result, I honestly got a bit choked up. I mean, Martin Freeman knocked it right out of the park to begin with, and the whole sequence was masterfully directed, shot and edited to begin with (apart from the continuity error mentioned, where Ori briefly teleports). But the Floyd just adds another level of resonance to the emotional gut-punch of the sequence.
And if that weren’t enough, it frees me to use the existing score for that scene (including the horn-blower) under the flashback that is to follow it, depicting the portion of the battle Bilbo missed, which I’ll be working on next.
The tool I used to rip it must have converted it to 30. I’ll need to find another one. Thanks!
Hmm. That honestly hadn’t occurred to me. I can’t seem to find anything official about it, but what you say makes sense. I’ll see if anyone else says something, but I’ll err on the side of caution unless I hear definitively that it’s OK.
Not sure about the framerate issue. The original footage is 30fps, but I thought I had slowed it down to match the 24fps I’m editing in. It was just a quick-and-dirty render, so that may be the problem.
First teaser trailer is up now!
Not showing very much at this stage (it is very much a teaser), but showing off the new prologue and a couple of the kinds of trims I’m making, as well as a snippet of the opening title theme.
I’ve been continuing to work on this, and I’ve now added back in substantial shots from the original prologue over an extended “Misty Mountains” song. The new prologue, extended song and full opening titles, in fact, come to about 10 minutes between them. Despite all this, I’ve still managed to get Bilbo out his door in just over 22 minutes from the opening logos, which I’m pretty happy with. (eldusto84’s edit, which omits the original prologue but leaves the entire sequence from “Good morning” to Bilbo leaving pretty much intact, has him running out his door bang on the 30-minute mark, for comparison.)
The biggest concern was that the dwarves wouldn’t get enough characterisation, but apart from Bifur (who doesn’t have any lines in English to begin with, and whose axe-in-the-head schtick I don’t care for) and Nori (who wasn’t well established in the full cut either), I’ve kept at least one decent establishing moment for each one. Amazingly, despite cutting at least half of the running time of the Unexpected Party, it doesn’t feel rushed.
The troll scene works well. I can’t get rid of all the childishness, but I’ve toned it down considerably. I may yet be able to tighten the pacing a bit, but the smash cut gag from the triumphant charge to the spit-roast works perfectly; in fact, I’ve made it a match cut, with the downstroke of Thorin’s sword matching seamlessly with a troll throwing wood on the fire.
Rivendell is still a problem. I’m pretty much only cutting out the White Council scenes, and moving around a few other little bits and pieces, but it somehow manages to still feel rushed: they arrive, they have tea, Elrond reads the map, and they leave. I’m able to add in at least one extra day/night cycle with some careful rearrangement, but I’m far from satisfied with it yet.
Goblin Town is okay. I’m considering switching scenes around so Gandalf shows up and starts the dwarves running before the Riddles in the Dark sequence, rather than after. It does mean losing a lot of Barry Humphries’ admittedly excellent Great Goblin, but it hits the important beats.
New prologue is now locked. I may fiddle around with the music a little, but overall I’m happy with it. Stole several shots from Team Supertramp’s 4K visit to the Hobbiton set a couple of years ago, which mesh very well with the narration. It works out at 70 seconds, which I think is acceptable.
First pass of the first film is complete. It’s remarkable how easy it was to cut Azog out of the scene with the wargs and pine-trees — a sure sign that he was a relatively late addition to it. I still need to rework the Rivendell narration — I may need to steal an establishing shot or two from FOTR — and I haven’t cut in the new prologue yet. But most of the signature cuts of the edit from the first film are locked, and the running time is for now down to about 80 minutes, or 90 when you include overture, new prologue and opening credits, and I should be able to shave more off. On to part 2!
Quick update: I’m working in 1080p after all. I may need to wait until we upgrade some equipment next year for any heavy colour grading, but otherwise my computer has proven it can handle it.
Yeah, it’s something that will be difficult to pull off. I wouldn’t mind showing it in principle, but I think the fight between Thorin and Azog is just too absurd, especially (unfortunately) the end. I’m going to see if I can get away with showing at least some of the battle in flashback; that ought to give me some more flexibility with what to show and how.
Thanks, mate. Aiming to have a trailer of some sort out by Christmas.
Just in case anyone else is still subscribed to this thread, I’ve started back up on my edit after not touching it for a year or two. I’ve made a thread for it here, and I’m aiming to release it some time next year.
(NB. not everything referred to in the past tense is completed; I’m just used to writing that way.)
Overture of themes, courtesy youtube user saysnobody.
Custom designed & animated OT.com vanity plate by me. I’ll make this available to anyone else who wants it, of course, in full 1080p. Original 1950s Warner Bros. fanfare and MGM lion roar with current animated logos.
Replaced with a short (<1min) montage of the Shire and Bag End, with a few lines of narration taken from the audiobook by Rob Inglis. Segues into:
Trimmed slightly. Cropped picture to remove “60 years earlier” caption.
An Unexpected Party:
Trimmed a little to remove pettiness, but “Blunt the Knives” stays. I may incorporate a few shots from the first film’s prologue into “Far Over the Misty Mountains Cold” as flashbacks, and possibly an extra verse or two from Clamavi De Profundis’ cover, which meshes very well with the version in the film.
To follow the dwarves’ song. A full suite of opening titles, over an animated backdrop of original maps from both The Hobbit and The Lord of the Rings books. Music by Parademics.
Toilet humour toned down as much as possible. Action scene completely removed and replaced with a quick gag: the dwarves all charge in, followed by an immediate smash cut to them tied up and about to be roasted. I will try to remove Gandalf breaking the stone, but no promises in this regard.
Radagast and Azog:
Completely removed. Cut from the troll-hoard to arriving at Rivendell.
A Short Rest:
Rivendell and Elrond introduced with narration from the audiobook. White Council removed, but some scenes from the Extended Edition retained in whole or part, including Bofur’s song.
Over Hill and Under Hill:
Stone giants completely gone and not missed. Arrival in Goblin-town trimmed to remove references to Azog. Escape from Goblin-town cut down to a couple of beginning shots once Gandalf shows up.
Riddles in the Dark:
Gollum’s introduction altered so it doesn’t seem like we’re supposed to know him already. He doesn’t drop the Ring on-screen. Otherwise pretty much left as is.
Out of the Frying-pan, Into the Fire:
Cut down as much as possible. I considered cutting straight from the escape from the goblin tunnels to the arrival at Beorn’s (Mamman cuts all the way from the the tunnels to Mirkwood, which involves the significant continuity error of the dwarves randomly acquiring ponies only to have to leave them behind immediately), but I want to keep the Eagles in the battle at the end, and so I ought to introduce them here.
Gandalf’s narration over footage of the Eagles in flight (idea stolen in its entirety from eldusto84) to bridge between films 1 and 2. Arrival at Beorn’s taken from the Extended Edition. Beorn scenes trimmed to remove references to Azog and the Dol Guldur subplot.
Probably trimmed a little, but need to be mindful of pacing in this area; Mirkwood should feel like a bit of a slog. Spider sequence cut down to remove the drawn-out action and the nonsense with the Ring.
Legolas reduced to his first line. Thorin’s parley with Thranduil trimmed. Tauriel’s scene talking about the Feast of Starlight kept, but she’s otherwise excised.
Barrels Out of Bond:
Severely cut once they’re in the river. No Orc chase, no arrow wound, no Legolas.
A Warm Welcome:
The Master and Alfrid trimmed down considerably, but not removed entirely. References to the Black Arrow and the windlance cut. If I can, I plan to incorporate “The King Beneath The Mountain” as sung by Clamavi De Profundis. Kili’s injury, the involvement of the Elves and Orcs, and so on all cut.
On the Doorstep:
Used FX shots from eldusto84’s edit to reinstate all 13 dwarves going to the Mountain at once. A few lines from the audiobook used for narration. The actual climb to the doorstep and the drawn-out attempts to find the door are trimmed down for silliness and to avoid the glaring continuity error with the moon-runes (“the setting sun…will shine upon the keyhole”). I’ll have to see what colour-grading can achieve in this area.
Cut slightly to remove the Eye of Sauron, but Bilbo’s conversation with Smaug mostly kept intact.
Smaug the Magnificent:
The dwarves never fight or see Smaug inside the mountain; the entire action sequence is removed. Will probably use eldusto84’s FX shot removing Smaug’s golden coating, or potentially remove it some other way.
Act One ends at the same point as The Desolation of Smaug. It’s by far the best point at which to do so. Entr’acte planned to include part of Clamavi De Profundis’ “Far Over the Misty Mountains Cold”, probably the part sung in the book in Beorn’s house.
Fire and Water:
Smaug’s attack on Lake-town kept mostly intact, minus the windlance and Bard using his son as a bow (borrowing Mamman’s cropped shots to achieve this).
The Gathering of the Clouds:
Kept as much politicking between the three races as possible, but continued the complete excision of the Dol Guldur subplot except for Gandalf coming with news of Orcs on the march. Thorin’s “dragon-sickness” will be downplayed but not eliminated. The battle itself will be cut very short; I want to focus on the build-up. Two more verses of “Far Over the Misty Mountains Cold” may show up here, but only if there’s a natural place for them.
The Clouds Burst:
Battle trimmed down severely to maybe five minutes. Azog, giant worms, trolls, Radagast and other nonsense removed. (Azog will probably show up in a couple of shots, but he won’t be named or shown to be important, and he won’t kill Thorin.) Bilbo’s concussion followed by a smash cut to black, followed by him waking up and finding Thorin already wounded and dying.
King Under the Mountain:
I’d like to try incorporating “The End of the Beginning”, an organ and choral piece by Pink Floyd, over the scenes of Bilbo’s grief and Thorin’s funeral. I’ll have to make sure it works in terms of timing, and I’m not 100% wedded to it, but it ought to work thematically — it was written to depict the aftermath of a great battle in the first place.
The Return Journey:
Short flashback montage to a few scenes from the battle, set to narration from the book, to make up for the fact that most of the battle itself will have been cut. Bilbo’s return home trimmed to remove references to the Ring, but the auction is kept.
Montage set to narration from the book (potentially including shots from LOTR), for symmetry with the prologue and to make up for an over-rushed ending to the movie (presumably done in the first place to avoid a repeat of the complaints about the over-long ending of The Return of the King).
Remade by me to incorporate credits for all three films and avoid duplicating new opening credits. Set to “Bilbo’s Song” from The Lord of the Rings (the one that begins “I sit beside the fire and think…”), with music written by me and planned to be recorded by David Slattery, possibly followed by a third Clamavi De Profundis recording, “Song of Durin” (also a song from LOTR, beginning “The world was young, the mountains green/No stain upon the moon was seen…”), or else one of the credit suites from the original movies.
The Hobbit: Roadshow Edition
a fan edit by Roccondil Rínon
So I’m back to editing. I hadn’t touched my 3-in-1 Hobbit edit in quite a while, but I’ve been inspired to get back and finish the damn thing.
Teaser trailer is now LIVE here.
I liked eldusto84’s edit, J.R.R. Tolkien’s The Hobbit, very much, but there are a number of things I want to do differently, many of which involve shortening the film even further, but some of which involve reinstating scenes. Mamman’s The Little Hobbit managed to make the film coherent, if rushed at some points, in under 3 hours, which is also the length I’m aiming for. If I can’t get it that short and be happy with it, I’ll be content with under 208 minutes, the length of the shortest Lord of the Rings Extended Edition.
In my first passes, I managed to get the first two movies down to 100 minutes each, and since watching Mamman’s edit I’ve confirmed that I can get rid of plenty more of both of them, probably down to 80 if not 60 minutes each. (My first passes kept Azog, Radagast, Tauriel and Kili’s subplots mostly intact, as I wasn’t sure I’d be able to keep things coherent without them; the third movie hadn’t come out yet by that point. They’re now definitely all for the chop.)
It won’t be a strict attempt at a book cut, but so long as it’s no less faithful than the LOTR movies, and a suitable prelude to them, I’ll be content. I want to keep it light-hearted and whimsical, without being childish or silly. I find that a lot of edits (not just of this movie, either) go too far in removing whimsy, while leaving in action scenes that could safely be excised. So I’ll be keeping “Blunt the Knives” and some of the dwarvish trolling in Rivendell, as well as Gandalf’s trolling of Beorn from the Extended Edition, while completely eliminating the interminable chase scenes (all three of them) and reducing the Battle of Five Armies itself to maybe five or ten minutes. In fact, I’ll be adding in a few gags that are in neither the book nor the trilogy, such as a smash cut from the dwarves charging the trolls to the trolls cooking the dwarves, and adding some narration from the book (about Rivendell being a perfect place for eating, singing, or just sitting and thinking) over scenes of the dwarves testing the elves’ patience.
For three reasons, I’m going with a roadshow format for this edit.
- Any movie this long needs an intermission. I did once sit through a LOTR Extended Edition marathon at the Astor Theatre (Melbourne’s premier cinema), which was a fantastic experience, not least because (in addition to breaks between the movies themselves) they added proper intermissions at appropriate points.
- I want to be able to release it on single-layer Blu Ray and DVD with maximum quality, which will almost certainly require making a 2-disc set. This also necessitates an intermission. I do have a drive capable of burning BD-50s (got it especially to make my copy of NJVC’s Despecialized set), but I know a lot of people don’t, and the discs themselves are rare and expensive. It also means it will match the Extended Editions of the LOTR trilogy, which all come on two discs.
- Once that was decided, the idea of including an overture, entr’acte and full opening credits was too attractive to resist. I simply love old movies that were made in this format, like Ben-Hur, 2001 and so on (both of which, among others, I also saw in the format at the Astor). I’ve already found (or in one instance, composed) music I want to use for them. They’ll be easily skippable for party-poopers or those in a rush.
JEDIT: I was going to be doing this in 720p, but my equipment can handle 1080p after all, and I can upscale the handful of cropped shots just fine.
Below I’ll post a (more or less) sequence-by-sequence description of the planned project.
Vanity plates and opening titles are rendered and complete, including executive producer credits for Johnny Ringo and a friend from university who bugged me to get back into the project, as well as an “additional visual effects” credit for eldusto84. End titles are composed but not yet rendered (I expect I’ll want to include thanks to some more people on here). Act one (ie. An Unexpected Journey/The Desolation of Smaug) exists in rough draft form, but requires further cutting. Act two hasn’t been started yet.