Tack

Ronster said:

Handman said:

Where are you getting your information? Sorry, but it’s completely wrong.

Ronster in a nutshell.

I am actually 100% correct, I will post a video later on about the splices that the soundmix was created for. Go and try it for yourself a have fun.

Well only if you are bothered about the sound and video in unison that is.

Is there any truth to the Canadian version including the bigg’s scenes on tattooine or is this one of those rumours?

There are many such rumors. The main ones are-

• Leia spitting on Vader during their meeting on the Tantive. Novelization detail, one of the most bizarre ones too.
• Luke missing the first time during their chasm swing. This is from the novelization entirely. It’s not in the script or the comic adaptation.
• Any one of the Biggs scenes being present, either the Tattooine or Massassi ones. It got bad enough that some official publications claimed the later scene was present in the 1977 cut and cut out for the rerelease. At this point, totally unsubstantiated. The Biggs scenes were out of the film way before any significant post-production happened. They are in just about every piece of tie-in media, so it’s not hard to see why people would remember them being in the film.
• Vader’s TIE exploding during the ending. I can imagine why this one happened, since I imagine most everyone back then would have expected this to happen.

‘The Lost Cut’ is a general term used for the assembly cut created by John Jympson. It is about as rough as it comes.

What I think you’re describing is a later cut either scored by John Williams or screened for Lucas’ friends and the FOX executives. Watching some footage and pictures of Williams’ scoring does show that there a few effects shots which were revised before release and the presence of some tracks (‘Land of the Sand People’ on the original album) indicates that several scenes were still much longer when the scoring process began.

By all accounts the early Tattooine scenes were scrapped before the later stages of post-productions, and until evidence of otherwise comes to light I’m inclined to think those scenes were scrapped very early in post-production.

There is a lot of evidence that the search for Artoo was much longer, including the presence of a graphic for the Landspeeder readout in the Visual Dictionary and there being some high quality color screencaps available for the original 1998 Lost Cut article despite the same article claiming the cut itself to be black and white. The same goes for some other shots that are clearly screen captures; Luke and Han congratulating each other after the battle, Luke deciding to leave the restraining bolt off of Threepio, miscellaneous shots from the climax, etc. These are the kind of things that would be present in these later cuts; smaller trims that to some might not even be noticeable, perhaps even with post-production elements mixed in like ADR dialogue or some rudimentary sound mixing.

That is both gorgeous and seamless!

Sheepish said:

V

And you wagered…

yotsuya said:

And don’t forget that one of our OT members made an audio recording of a 70 mm showing. Few of the audio changes claimed are actually from the 70 mm version.

Basically none of the dialogue changes on the Wiki page. Two alternate dialogue takes, a few mixing differences and some changed around sound effects.

From what I can tell from the tape recording;

• Luke’s lightsaber has a very audible deactivation sound as he runs out of the Wampa cave.
• The Battle of Hoth uses a few different sound effects, including TIE laser sounds for the Snowspeeders.
• Threepio’s ‘and’ before ‘Do take good care of yourself’ is clearly audible.
• I might not be right about this, but it seems like there’s a low rumble effect for the space shots of Artoo during his conversations with Luke. I don’t recall other mixes having that.
• Perhaps some extra (or louder) explosions during the Asteroid field chase.
• There’s a neat ambient effect during the Emperor hologram that I’m not sure is quite replicated in other versions.
• Different, louder TIE sound effect in the shot before Needa’s death.
• Probably due to the increased range over the stereo mixes (but maybe betrayed by the nature of the tape), Threepio’s lines throughout a lot of the third act are far more prominent, though still contain the atmospheric effects present in the stereo mix.
• Aside from the length differences, both of Lando’s lines in the final scene are different takes.

Most of the alternative dialogue we know about seems to come from a never-released mono mix.

If you want my two cents, this is doable; not simple, but doable.

First of all, there’s very little out there to suggest the differences in optical transitions or compositing have any truth to them. I have a feeling since we were working from word of mouth for so long that some misremembered facts just kept creeping in. So, don’t take everything on the wiki seriously; it’s based on much older info and a lot of it has been disproved in recent years. In my mind, we should only consider the changes that we have definitive proof of (the missing Falcon dish and the static Emperor).

That being said, I do think the alternate edit of the Bacta Tank scene is probably true. The edit would have been very easy to make, since they cut the shot right after the original optical transition ended. And something about how quick that cut is makes me think that it was a last minute decision. A portion of the complete original shot is in color in the 1979 Harrison Ford-narrated trailer, and the full shot is on the BD extras, though unfortunately in black and white.

The sound mix will probably be the comparatively easy part of it, especially with a form of direct reference. The only difficult part would be trying to incorporate the alternate take of ‘Princess, we’ll find Han, I promise’, since to my knowledge the only other place that appears is the Story-Of album.

http://fd.noneinc.com/Theater_Performance/1980-ESB_TP-1.html

See for yourself. The night scenes are a very nice blue on this particular print but there’s a definite reddish hue to the day scenes, Hoth interiors, etc.

I think the pink that’s coming out in some of the day scenes is actually accurate to what we know about ESB, in particular the 1980 VHS bootleg (which is overly pink, but gives a good hint as to how much blue there is) and some scans.

I personally think the progress on this grade looks very nice. All signs point to Empire in its original form having a very muted palette in comparison to Star Wars, which I think the blu-ray wrecked by turning up the brightness too much, but is looking very nice here.

Good work as always, Dre!

This is more of a proof-of-concept than any kind of project, and it’s a bit rough around the edges, but this is my take on improving the blu-ray extended version of the Med Bay scene, using the theatrical edit, the rough cut on the blu-ray, and the Luke close-up footage from the Making of ESB eBook.

I wanted to find a way to smooth over some of the problems present on the blu-ray scene, namely a bizarre jump cut during Luke’s “Just another system…” line. I wanted to make use of the close-up footage, which I think contains a much better performance from Hamill than the medium shots from the blu-ray footage, without over-relying on them like some edits on YouTube I’d seen. It also allowed me to bring Luke more into the discussion once Han enters the scene.

I’ve always been fascinated by this scene ever since I saw snippets in Empire of Dreams and the original theatrical trailer. I now just have to wonder how the ‘bacta mask’ shot fit into the scene originally, or if it exists out there in any good form.

https://drive.google.com/file/d/14Qlhbpi_oRAlb_UijiTIta6hPbgkZXVH/view?usp=sharing

SilverWook said:

Interesting, as Lucas did spend some time in Japan in the early 70’s and fans have speculated about the anime influence on Star Wars ever since. I certainly saw elements of Star Wars in Space Battleship Yamato when it reached American tv’s as Star Blazers.

You know, it’s funny I ran across this comment. I kind of thought while watching this how much it resembled the structure of a Yamato movie.

Specifically ‘Arrivederci’ and ‘Final’ with their multiple climaxes and especially with Holdo’s sacrifice, Leia’s speeches, etc. Even the Rose/Finn subplot reminded me of something that would be in those movies.

That’s not meant to be a negative by the way, I really enjoyed this one. Most of my issues are in the first half. After a certain amount of time I was basically totally on board.

I actually liked the Monte Carlo planet. Never did I feel like it went too camp.

I do have one thing though… Snoke stated that it was him who’d been infiltrating Rey’s mind on the planet. Did I misinterpret that? Was he bluffing? The film makes so much more sense if it was actually Ben.

Warbler said:

When you say “which he says he regards”, are you talking about your father or Ken Burns?

Ken Burns. He said as much.

Having met the man, and given the unparalleled opportunity to watch selections from his newest Vietnam effort with him present, I can say that it will be an experience to any who watch it. I was not around for that era yet I was experiencing an odd kind of recognition. Even the forty minutes he screened to the audience was a profound emotional experience. I can’t imagine how incredible the full version is going to be.

Also, the guy himself is just nice as can be. My dad got into a legitimate conversation with him on the blu-ray restoration of Civil War (which he says he regards as his favorite film second to Vietnam), and it was clear he was just as big a nerd as the rest of us.

Lord Haseo said:

Either that or scour the Earth for a more competent writer and just have JJ direct.

That would be a decent solution. I can admit JJ’s writing is nothing that gets me too excited exactly. However, I think he’s the kind of director where the script makes or breaks the final product. It is fair to mention that both the Trek films he directed also had two terrible Hollywood writers. Although '09 was better… So maybe their work is just on a spectrum.

Then again they also wrote ‘The Legend of Zorro’ and ‘Transformers’ so I don’t know what to believe.

Looking through this thread is just affirming one thing I’ve consistently noticed… The content creators are the best people on this site.

1. Star Wars
2. The Empire Strikes Back
3. Rogue One
4. The Force Awakens
5. Return of the Jedi
6. The Phantom Menace
7. Revenge of the Sith
8. Attack of the Clones

I suddenly forgot how belligerent you can get when posting in internet forums.

Deal of the year today.

Ended up finding the Mondo vinyl edition of the ‘Wrath of Khan’ soundtrack for 6 bucks. Specifically, the version where the discs resemble the Mutara Nebula.

I’m gonna enjoy listening to this one.

yotsuya said:

I do not have a copy of the ABC version to directly compare to, but my understanding is that it was extended to fit 3 hour time block and it included the extra scenes as in the Director’s cut DVD, and nothing was missing. I did see it several times at conventions and at one point I had a copy of it.

I have not done a scene by scene comparison, but just looking at it quickly. the original B&W/Color version of The Cage and the restored full color show very little differences. The DVD release has the original in 29.790 fps and the restored version in 23.976 fps. In places the hybrid runs faster and in others the restored runs faster. There are also noticeable frame drops in the hybrid during the B&W sequences.

There are some small bits of dialogue missing, which survive in some recordings of the full 16mm print from Roddenberry. It’s all in sections where edits were made in the Menagerie, which makes it understandable why they were excluded in that initial hybrid cut and never restored. I think the rest of it concerns soundtrack changes; music from ‘The Man Trap’ is looped into many sections, again casualties of The Menagerie.

The ABC cut of The Search for Spock that you’re referring to is not extended but actually hideously cut down. Reportedly, the original editing (and this survives in the comic adaptation from DC, by the way) made it so that the Grissom material takes up most of the first act with little cutaways to the other characters until the stuff with the Enterprise in the 2nd act. However, they (rightfully, IMO) decided that it would be stronger to focus on the Enterprise crew for the first third.

Now, the ABC cut does open with the Grissom like the script… But that’s because they apparently cut off everything that happens before.

By the way, there are also records of workprints being shown for both The Wrath of Khan and The Voyage Home. I’ll try and look for the list of extensions for The Wrath of Khan. I saved it a long time ago.

Edit: Here it is.
A few seconds of footage were cut from the simulator scene.
A brief snippet of deleted footage from the scene where Kirk receives his copy of ‘A Tale of Two Cities’ including the statement of Saavik being half-Romulan. Additionally, Spock asks if Kirk is feeling oppressed by something.
A longer take of the McCoy/glasses scene.
Chekov originally had a different log entry, designating he was duty officer. This was redubbed after the workprint.
Carol and David originally had a longer scene with each other, likely more exposition about either Genesis or Kirk.
Chekov spotting a child in the Botany Bay window, and knocking him and Terrell off of a cliff. While the workprint did not reportedly include this take, this scene was controversial in magazines for putting a stuntman in blackface for one take.
Terrell finding Khan’s baby in the Botany Bay.
Marla McGivers is mentioned by name in Khan’s speech.
The Ceti Eel scene was originally a little longer and more graphic. I believe the Director’s Cut has hints of this.
Kyle and Beach (of the Reliant) attempt a rescue, but Terrell (under the eel’s power) convinces them to beam aboard Khan’s crew.
Like the first film, Spock and Saavik originally spoke English in their conversation. This was redubbed after the workprint.
A scene detailing Sulu’s promotion. This is the one George Takei claims Shatner deliberately sabotaged with bad acting- those who have seen it say that was quite obviously the case.
Reportedly, the workprint essentially used the entirety of the Star Trek: The Motion Picture launch scene. This was cut down for the theatrical version.
An alternate take of the scene of the scientists arguing, unsure whether the workprint used the theatrical or director’s cut version.
Carol’s narration during the Genesis tape scene was changed to give a different explanation of the Genesis effect (it was to provide implication that Spock could return).
An alternate take of the discussion in Kirk’s quarters. I believe the workprint was closer to the Director’s Cut.
Kirk had a line about Chekov during the first Reliant encounter.
Scotty is seen telling the other engineers to stay at their posts.
The original cut of the Enterprise’s attack had Khan moving across the bridge shouting at Kirk. This can be seen in an early convention reel.
At one point Kirk recalls the “blind as a Tiberian bat” line while orbiting Regula 1.
McCoy reveals he had worked with Terrell.
The scene of David attacking Kirk was reshot at the studio’s consent. The original featured David leaping out of a cargo container, pulling a knife on Kirk, and actually winning their brawl (this can be seen in the Starlog magazine coverage for the film). This actually reflects a major script change. Reportedly, Kirk had NO idea of his relation to David and learned of it in this scene. The insert shots in the final edit are easy to notice.

Now, this all is more speculatory. The public screening of this workprint cut out during the final battle, right as Spock gets up to go to engineering. The rest of the film included:

A scene showing McCoy working on Chekov’s ear during the final space fight. David is shown to be anxious to get to the bridge.
Chekov later wakes up and demands to be taken to the bridge, David takes the opportunity to follow.
A scene of Khan’s baby in the transporter room next to the detonating Genesis device.
Khan’s final reaction shot before the Reliant’ destruction was cut.
The original funeral scene was slightly longer.
The scene between David and Kirk had different dialogue initially, redubbed at the studio’s consent. “I should be on the bridge” “Are you running away from me?” "I suppose I was."
There was brief scene cut out between Saavik and David on the bridge, paving the way for a later romance.
The original ending lacked all scenes taking place on the Genesis planet, making it seem as if Spock really was dead. Meyer reshot it after studio pressure and a bad test screening. The original edit is referenced on the expanded soundtrack release.

So, um… What happened to this HD broadcast of the TPM theatrical version? Those screenshots on the previous page look nearly immaculate and even though I hate the movie I want the theater version to survive in good quality.

Swazzy said:

DrDre said:

Love these colors in paticular. Tried my hand at the usual…

Blu:

Regrade:

Compare

LUT

Lo and behold, Threepio’s gold!!

Jesta’ said:

(J J and his anti prequel boner)

Bullshit!

You tell me how it makes sense for a second that she’d have that flag in her possession. And don’t try and justify it with some other piece of media explaining the flag’s origin. In the context of the film, it’s Anakin’s flag and nothing else. I think it’s a change that makes sense.

That, and I think you’re overestimating how much the prequels would really have an influence on the current state of affairs in the in-universe galaxy. Or are you complaining about lack of world-building while also arguing they should visit more planets we’ve already seen before!?

There is no way that the Mono Mix is just a different take. That’s a whole new woman. Considering the rest of the audio errors the mix corrects, I bet they decided the original voice was just a bit off-sounding for her and decided to redub her entirely.

That makes me wonder something else… Considering the sheer amount of new ADR in the Mono Mix, is it at all possible that there was another recording session that took place after release?

There are some shots that look more “right” to me in those corrections than almost any version I’ve ever seen before.

This just looks “right” to me. I especially love those shots in the Tantive engine room. It actually looks like it’s in the shadows! And the conference room scene, with that deep saturation and rich blacks.

I like this thread very much.

Vladius said:

Tack said:
Also, side note; I would actually want to remove the sequence with the little girl during the Jehda City siege. In the whole movie that was the only cliché that made me groan a bit. We don’t need that to tell us that Jyn’s a good person at heart. It comes across through the rest of the film just fine.

That’s actually one of the best parts of the movie, for me. Jyn has such limited character development, and that’s part of it.
*It shows the trauma of war.
*It shows part of why Saw’s rebels are considered radicals - they don’t care about collateral damage.
*There’s not actually a lot establishing that Jyn is a good person up to that point.
*Jyn has wide eyes, partially out of surprise and concern, but also because she identifies with the little girl - abandoned (twice) as a child in the middle of a war.
*It’s sadder when the Death Star blows up Jedha City later, because we see some of its civilians as well as its fighters. It also builds the scope and threat of the Death Star - even if you save individual people, shoot stormtroopers, and do important things, it can all be wiped away in an instant.

You certainly make a better case for it. I guess my main anger was at its clichéd use I’ve seen in other films. It definitely has no real effect on my enjoyment on the film as a whole; it should just say something that in the whole film that was one of my only real gripes.