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adywan

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Join date
15-Mar-2006
Last activity
23-Oct-2018
Posts
5798

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Post
#1251704
Topic
STAR WARS: EP IV 2004 <strong>REVISITED</strong> ADYWAN *<em>720p HD VERSION NOW IN PRODUCTION</em>
Time

Look who is coming back in the HD version of ANH:R…

Using a mixture of the 4k77 release and the official blu-ray, along with addition restoration i did to the 4k77, removing all remaining film damage, Wolfman has now been restored back in the 2 shots they replaced him in the SE’s

Post
#1246833
Topic
Star Wars - What is wrong and what is right... Goodbye Magenta
Time

Ronster said:

adywan said:

Ronster said:

Go and see what it is meant to look like 😃 It looks lovely…

This is why you NEED to calibrate your monitor. If you think that looks lovely then your monitor is not showing you that gif is WAY too shifted towards green. It looks terrible.

Yep that is what happens in a NLE. And that was exported from. Really it needs to be done in Womble probably will then miss out the mpeg decoding issues.

The result is not true unless you apply it directly to the mpeg.

It crash and corrupt the file NLE file again and again. So you have to treat the raw mpeg after proper de-coding not in NLE for true result as it screws up the color once converted or Ripped. I think Womble or do it like I have in a player and capture the result.

So you now blame the editing programs you are using for the bad grading just so you can ignore yet another person telling you that YOU NEED TO CALIBRATE YOUR MONITOR!. And why originally say " this is what it is meant to look like. it looks lovely" and then say, when i tell you how bad it looks, that “oh its the way the editing program is exporting it (when its not)”? Why say it looks good to you in the first place? IT’S YOUR MONITOR. Spend the time calibrating it.

So what NLE program are you using thats exporting and creating all these colour issues?

People are offering you advice, telling you what you are doing wrong, and yet you chose to ignore them, get snarky towards them and carry on doing it the same wrong way and blame everything apart from your monitor.

Post
#1244924
Topic
Michel Parbot &quot;The Making of The Empire Strikes Back&quot; Documentary - FULL VERSION FOUND!!!!!
Time

As most of you may know, ever since clips of this documentary surfaced online a few years ago, this became one of the “Holy Grails” of Star Wars. While the quality isn’t great, at long last we get to see the full 1 hour documentary. This is a direct rip from the DVD that i was given. The original ISO file will be found soon on the spleen and on the usual SW usenet group.

This seems to be from a different source than the one that StarWarsArchives originally posted clips from, so i decided to make this a new topic.

Enjoy

https://youtu.be/YeB-uXGGaEU

Post
#1244372
Topic
The making of The Empire Strikes Back (Michel Parbot)
Time

LexX said:

May I ask what are the origins for this? Is it from someone who had worked on the document? I thought there were no copies made.

Would it possible to use some of the better footage edited into this?

Origins are from a PAL VHS someone got in France from an online auction many years ago and the person copied it to his pc using a usb device that only recorded in ntsc. thats all the info i know.

Also this doesn’t seem to be from the same source as the one StarWarsArchives has, so there is more than one source floating around and not just the one as originally though

Post
#1244369
Topic
The making of The Empire Strikes Back (Michel Parbot)
Time

Yes, i now have it. The quality, as i said, isn’t great. Not as clear as the clips that were posted by starwarsarchives but, as far as i can tell, it is the full documentary. I got it as an NTSC DVD VIDEO_TS folder and is only around 2.5gb in total. The original disc will be uploaded in the next few days. I have only skimmed through it at the moment so i’ll do a test burn to see if the DVD authoring has been done right and fix any problems with that first





Post
#1242999
Topic
STAR WARS: EP IV 2004 <strong>REVISITED</strong> ADYWAN *<em>720p HD VERSION NOW IN PRODUCTION</em>
Time

shadow_freddy_1983 said:

It looks like that assbag created another account

https://www.reddit.com/user/The_Real_Adywan

Well he made the mistake of claiming he knows my address and that he would be coming to murder me. Doesn’t matter if the guy is in the USA or not, he threatened to kill a UK citizen. When this happens, it becomes a police matter. Several accounts using the same IP address have already been identified and they have been logged. The videos being posted and the fake adywan accounts, are all by the same guy, and so are most of the people commenting on his videos. So it’s up to me now whether i want to take this further legally or not.

shadow_freddie_1983, all i’m going to say is “i know”. You will know what that means. It’s time to stop

Post
#1242741
Topic
R.I.P. Gary Kurtz
Time

Gary Kurtz
1940 - 2018
Star Wars Producer

Gary Kurtz, Star Wars producer passed away on Sunday the 23rd of September at 4.47pm after living with Cancer for the last year.

In the 70s and 80s Gary Kurtz was a young film maker that revolutionized the Hollywood film industry at its core with his films like Star Wars, American Graffiti and The Empire Strikes Back. The agreements he closed altered the balance of power from the film studio to the directors and producers so they could, for the first time, make the films how they wanted to make them and control the process of the art of filmmaking.

In the mid 1960s Gary Kurtz was assistant director on a Monte Hellman western, Ride in the Whirlwind, starring Jack Nicholson, and went on to work on Voyage to the Prehistoric Planet with Basil Rathbone and Queen of Blood, with John Saxon, Basil Rathbone, and Dennis Hopper, and then on to another Monte Hellman western, The Shooting, starring Warren Oates and Jack Nicholson, and finally wore multiple hats as production manager, assistant director, and editor on the Harry Dean Stanton film The Hostage.
Then in 1966 Gary Kurtz joined the U.S. Marine Corps where he served his country in Vietnam. This led him toexperiences in his life that would later directly influence his film making skills and story telling ethos.

After leaving military service, Gary Kurtz moved into studio pictures, and became associate producer on Chandler and Two-Lane Blacktop with Monte Hellman for Universal Pictures, both in 1971. Kurtz’s well-rounded skills in directing, editing, producing and storytelling made him the perfect partner for the young upcoming George Lucas when they first met through Francis Ford Coppola in 1971. This meeting led to a collaboration of these two film makers that lasted over a decade.

Gary Kurtz studied religion extensively in his early years. In the early stages of development on “Star Wars” he suggested to Lucas that he might give the film a sufficiently universal religion to help to give it more depth. That led to Kurtz working on the "Star Wars” screenplay and developing “The Force” which would go on to influence generations of fans. Lucasfilm was born under their banner, and went on to make some of Hollywood’s most successful films of all time.

Gary Kurtz developed a good relationship with Universal Pictures off the back of Two-Lane Blacktop in 1971. Following that, George Lucas and Gary Kurtz brought a two-film deal to Universal for American Graffiti and a sci-fi film that was to be Star Wars. American Graffiti was a low budget movie and cost only $777K which was less than Kurtz’s last movie Two-Lane Blacktop at $850K, but American Graffiti went on to take $140 Million world wide which made it the lowest cost to highest profit ratio film of all time and that record held until The Blair Witch Project in 1999. Kurtz now 33 years old went into re-negotiations with Universal Pictures to make the the second of the two film deal which was to be the Star Wars film. In the end Universal passed on the project because the script was not fully developed.

Gary Kurtz later closed a deal with 20th Century Fox to make Star Wars for $11 million, and off the back of this Kurtz and Lucas set up the Star Wars Corporation. Gary Kurtz became Vice President of the corporation looking after the development of the film and also the film’s other assets such as merchandising rights and products. Star Wars was to become a troublesome production which was complicated to finish. It pushed special effects technology and the art of filmmaking to the limit.

In order to finish the film on time, Kurtz set up a second unit and directed many pick up shots, most of the cockpit dog fighting scenes, and most of the Star Wars opening scene interior fight sequences on Princess Leia’s ship. He then went back to the US to work on the special effects miniature unit at ILM as they were struggling to complete many of the shots that were promised in England. At this point, George Lucas was not confident that they had a film to release, but in the end Star Wars was finally finished and unleashed to the world on May 25, 1977 and became one of the biggest films of all time bringing in over 1.1 Billion Dollars.

Kurtz and Lucas carried on their partnership but they both started to have desires to make different sequels to the successful films they had already released. So, it was decided that Gary Kurtz would make the Star Wars sequel The Empire Strikes Back and that Lucas would make the sequel to American Graffiti, More American Graffiti. Gary Kurtz would join up with long time friend Irvin Kershner to direct Empire, the film again pushed all limitations in filmmaking technology. The film had twice the number of sets that the first Star Wars film did and a budget match of $18,000,000.

Gary chose to film in icy Norway where he had served out his basic training in the U.S. Marine Corps. They filmed there during Norway’s coldest weather in over 25 years. The production then came back to its UK home in Elstree Studios, but disaster struck when the the large sound stage there caught fire during Stanley Kubrick’s film The Shining. Gary Kurtz again just got on with what was needed to make the film happen and negotiated with the studio to have a new soundstage built using Lucasfilm funding. The agreement allowed them to use the stage rent free and once the filming of Empire was completed the new soundstage was to be sold back to the studio. This saved on the production budget and only pushed the filming back by a few days. In the end, the film, Star Wars: The Empire Strikes Back was released on June 20th 1980.
At this time Gary Kurtz started to feel that Lucasfilm had become too corporate as he often said there were too many suits in the production office that was supposed to be full of artistic people. That started to damage the strength of the Lucas / Kurtz partnership. Gary Kurtz was asked to produce Revenge of the Jedi (Return of The Jedi) and turned it down as he felt the script was too limited and that most of what was in the script had already been seen in the first two films (i.e. Another Death Star and the sand planet). He had worked on the Star Wars films for many years now and wanted to continue with changing the direction of filmmaking.

Kurtz was living in the UK at this point and had made several interesting filmmaking friends there. He had been talking to Jim Henson about a big film featuring only puppets. This felt like a real challenge to him, which is exactly what he was searching for, so he joined up with Jim Henson to produce and second unit direct The Dark Crystal, a technical filmmaking masterpiece.

Gary Kurtz’s next big film was again not going to be easy. A long time friend, Walter Murch, had written the screenplay and was to Direct Return to Oz. Gary Kurtz Executive Produced it and it was critically acclaimed for its technical achievements with the room of mirrors. It was a very dark twist on the world of Oz and was released June 21st of 1985.

Gary Kurtz went on to produce more films such as Slipstream (1989) with Mark Hamill, The Steal (1995), 5-25-77 (2007) and stayed working in the industry developing projects around the world including the far east and China up until his death, at the age of 78.

Gary Kurtz was considered by many as a pioneer in the film industry and a master of the art of filmmaking. He found any opportunity to share his expansive knowledge of the film industry with budding filmmakers and those seeking knowledge. He was a real humanitarian and a gentleman; some have said that he is one of the gentlest souls in the film profession, modest and humble, and a very unique man.

Gary Kurtz’s art left lasting impressions on generations of adults and children across the world. We have him to thank for these wonderful memories that he made for us all. Gary Kurtz helped to create the force and it is with us always.

Gary Kurtz left behind Clare Gabriel,Tiffany Kurtz, Melissa Kurtz, and Dylan Kurtz. Our thoughts are with his family.

The Kurtz/Joiner Archive

Post
#1239726
Topic
STAR WARS: EP IV 2004 <strong>REVISITED</strong> ADYWAN *<em>720p HD VERSION NOW IN PRODUCTION</em>
Time

I see the f**ker has made another account using my bloody real name this time. Suck a sad little person who can only get attention by impersonating someone else.

EDIT: The user TheRealAdywan, that just posted there, is actually me this time. I created an account solely to confront this guy, but it’s highly doubtful that i will be contributing much.

Post
#1238563
Topic
STAR WARS: EP VI -RETURN OF THE JEDI &quot;REVISITED EDITION&quot;<strong>ADYWAN</strong> - <strong>NOW IN PRODUCTION</strong>
Time

Snaketibe said:

adywan said:

Darth Hade said:

Please keep the scene where Boba is flirting with the girl in Jabba’s palace.

It is the only good addition to the Return of the Jedi Special Edition.

Sorry, all of the “Special Edition” additions to that scene will be going. They’re so awful.

Agreed, they are awful (CGI Sy Snootles, the new band members, the 3 dancing girls, etc.). However, I thought the new scenes they filmed with Femi Taylor reprising her role as Oola were actually pretty good. She looked exactly the same as she did 15 years earlier and I’ve always liked her extra scenes in the rancor pit.

Will you be keeping Oola’s extra scenes or will your edit return her involvement closer to the original version?

Oola in the pit is likely to go.

Post
#1237970
Topic
STAR WARS: EP V &quot;REVISITED EDITION&quot;<strong>ADYWAN</strong> - <strong>AVAILABLE NOW</strong>
Time

The NTSC DVD-5 “Barebones Edition” of ESB:R is now available. Links can be found via the latest post on the facebook revisited page.

For those wanting the Blu-Ray edition, then i’m afraid you are not going to be happy. You are going to have to wait a lot longer…

Creating the disc structure, all the special features etc takes a lot of time. So i have decided to go about it a different way. Instead of spending time that could be spent on working on ANH:R & ROTJ:R, i will now be creating and releasing all 3 Blu-Ray versions of the films AFTER i have completed the saga.

This way i can have a 3 disc saga and then just one special Features disc that will feature a longer behind the scenes feature on all 3 films in the Revisited saga, plus all the extra special features that go along with it.

Therefore i can have each disc concentrating on the film only, which will maximise the video bitrate that would otherwise be taken up by the extras, resulting in higher quality BD-25.

I know this is probably not what you wanted to hear, but it is the most sensible way of going around this.

Post
#1236857
Topic
STAR WARS: EP VI -RETURN OF THE JEDI &quot;REVISITED EDITION&quot;<strong>ADYWAN</strong> - <strong>NOW IN PRODUCTION</strong>
Time

Collipso said:

hello ady. i seem to recall you mentioning that once you were done with ANH:R HD’s color grading you’d move on to grading ROTJ:R. and since you posted a preview of reel 6 a couple of weeks ago i figured it’d be almost ok to ask, but i can’t contain myself: have you started grading ROTJ yet? i’m really interesting in what your RotJ is going to look like.

Check out the Episode IV thread 😉

Post
#1236855
Topic
STAR WARS: EP IV 2004 <strong>REVISITED</strong> ADYWAN *<em>720p HD VERSION NOW IN PRODUCTION</em>
Time

The colour grading for ANH:RHD is now complete. All that’s left to do now is to render it out, watch it and then make any adjustments necessary. Now i can move onto the colour grading stage for ROTJ.

Here are a few sample comparisons…















A 1080p 25GB mkv version of the colour graded version will be uploaded soon for anyone that wants it.

(And, please, if you quote this post, make sure you remove the urls for the pictures so it’s easier for people to scroll down the page)

Post
#1236777
Topic
STAR WARS: EP VI -RETURN OF THE JEDI &quot;REVISITED EDITION&quot;<strong>ADYWAN</strong> - <strong>NOW IN PRODUCTION</strong>
Time

Darth Hade said:

Please keep the scene where Boba is flirting with the girl in Jabba’s palace.

It is the only good addition to the Return of the Jedi Special Edition.

Sorry, all of the “Special Edition” additions to that scene will be going. They’re so awful.

Post
#1235037
Topic
Star Wars - The Lost Cut is not exactly what you think it is....
Time

Where are you getting your information about the lost cut from? Sorry, but it’s completely wrong. There was no sound mix done for the Lost cut. It was mainly on set audio but also silent in a lot of places. The cut was put together with what footage was available at the time (1976). There were only a handful of FX shots in the cut, with the ones that were being mostly unfinished or rough versions. They hadn’t even finished shooting the live action stuff, so many shots were just slates where a shot needed to be inserted later. The opening scene had NO laser fire or flashes added until the final shot where it was hit. Footage from the B&W lost cut has been released ( The cantina scene and a section of the opening battle, Luke & the Treadwell scene that’s in B&W) including the whole Tantive IV chase), so we know exactly what the opening of the lost cut looked like.