- Post
- #1467681
- Topic
- Star Wars Episode VIII: The Eyepainter Fanedit (Released)
- Link
- https://originaltrilogy.com/post/id/1467681/action/topic#1467681
- Time
Good luck!
Good luck!
Play endless adverts on television for the Empire Strikes Back Hotline that casually spoil the movie for viewers (“Now you can choose whether Luke strikes back, or his father Darth Vader strikes back instead! Just call 1800-555-555 today to vote. Only 4.99 per minute, terms and conditions apply”). You can achieve this in the modern internet age of streaming and direct download by including a dozen such adverts as separate video files, and requesting the viewer sprinkle them liberally in whatever viewing playlist they use.
I found something else I need to do. I’m adding the Master Codebreaker musical motif to the scene where Maz tells them where to find him; the score isn’t long enough to fit the dialogue beats it has to cover, so, I need to extend it. It’s a juggling act of making the music sound natural while also hitting certain frames at the beginning and end, which sadly don’t care about whether the score mickey-mouses or not. Just one of the more overt differences between fanediting and editing rushes.
I love this idea. I imagine there would be heaps of Roger Corman level productions made to cash in on ANH that would just need some lightsaber blades and SW SFX added.
Why can’t we just make it golden in TFA instead?
Using the new TikTok voice thing, make him say “I am instantly recognisable.”
Update: Added ThisIsCreation’s new audio, meaning the new Abednego dialogue change is now 100% complete.
That means the only things left to do are fix the frame skipping in the opening crawl, and film and composit the DJ jacket insert shot.
I wonder a) how he intended to achieve some of these changes, and b) if that’s why he decided not to work on them?
Full disclosure, I’ve never actually seen his OT edits. They’re on my “to watch” list though.
The only issue with colour changing it (which would take a lot of rotoscoping, I think) is that the red is a matte colour, not shiny and reflective like the gold.
Still, if anyone changes his arm to red for TLJ, I’d use it in an edit.
This is extremely cool.
Updates:
I think there’s two directions you could go with it:
One, you leave as much of Finn in as possible in the Crait Battle. That’s basically what I did - I cut it all down as much as possible, but I didn’t really change any of Finn’s parts. If you have a look at my workprint you’ll see how I handled it (and I can always send it to you at native resolution if you wanted, but I’m working in DVD quality, which I think is lower resolution than you are).
Two, you go the other direction, and trim as much of Finn out as possible. This would gel with him being absent from the rest of your edit; treat him like Rose in TROS, a main character in the previous film, now a minor Resistance character.
Or, if you want to split the difference down the middle, keep him in the Crait Battle as much as possible, but leave his suicide run out entirely. Poe tells everyone to pull back, then the next time we see him is back inside the mine talking about the vulptexes. Since he’s absent from your version, his suicide run isn’t the thematic resolution to a journey he’s been on, so leaving it might feel weird.
Just did an exhaustive re-edit of the Crait battle, and so far, I’ve gotten it down to mostly Finn, with Poe occasionally mentioning something important. Still, I’d love to take a look at your workprint just in case I’ve missed something (Which I might have). Oh, and it’s okay if it’s in DVD quality. My computer is running out of storage space at the moment.
I sent you a link to the workprint. I’ll be keen to see your version of the scene once it’s done!
I think there’s two directions you could go with it:
One, you leave as much of Finn in as possible in the Crait Battle. That’s basically what I did - I cut it all down as much as possible, but I didn’t really change any of Finn’s parts. If you have a look at my workprint you’ll see how I handled it (and I can always send it to you at native resolution if you wanted, but I’m working in DVD quality, which I think is lower resolution than you are).
Two, you go the other direction, and trim as much of Finn out as possible. This would gel with him being absent from the rest of your edit; treat him like Rose in TROS, a main character in the previous film, now a minor Resistance character.
Or, if you want to split the difference down the middle, keep him in the Crait Battle as much as possible, but leave his suicide run out entirely. Poe tells everyone to pull back, then the next time we see him is back inside the mine talking about the vulptexes. Since he’s absent from your version, his suicide run isn’t the thematic resolution to a journey he’s been on, so leaving it might feel weird.
With the “two endings” thing, I found that extremely truncating the speeder battle on Crait helps a lot. You’re not asking the audience to emotionally engage in a third big battle with fresh stakes all over again, and, it keeps the energy up briefly while saving the emotional investment for Luke vs Kylo.
PMs sent!
Moving and adjusting Broom Boy to TROS is a neat idea; I like that the saga would end on a scene that reaffirms the importance of, well, Star Wars stories.
Amazing. Great work, truly.
Thank you! SparkySywer did all of the visual work; I just removed the lightsaber hum while Luke is speaking.
I’m glad there’s a general thread for novel edits now! I think it’s something that’s only had the surface scratched. (I’ll finish my TROS one eventually!)
I had an idea to edit together Han Solo At Star’s End and Splinter of the Mind’s Eye, to result in a book that had all of the main cast in it, but when I read SotME I found it to be of incomparably worse quality than Brian Daley’s Han Solo books, so, it would either require a tonne of new writing, or a different “Luke and Leia without Han” source.
Saber sound in the third flashback has been removed! I borrowed a friend’s computer with some better audio software and it worked. I’m so excited about this; it means I can use SparkySywer’s version of the scene, which is a huge improvement.
Echoing others in this thread - I’d be interested in doing a small role. Anything that needs male English or Australian accents.
Oh, something else. My optical flow function has stopped working and I can’t figure it out.
I’m trying to use it to smooth over a jump cut; the two frames are almost identical, but I can still just see it when I’m looking for it. My plan was to use the optical flow tool to slow down the (rendered and exported and reimported) shot, creating a new tweening frame with its optical flow magic, which I would then put between the jump cut frames to smooth the seam.
While I can publish the edit without it, if someone with Premiere CC wants to do a minute’s worth of rendering for me, I certainly wouldn’t say no.
Something else left to do actually - the lightsaber hum sound after Luke has already deactivated his saber in Sparky’s Third Flashback VFX shot.
This is a change that I really want to be in there, because I think it makes a massive difference - but if I can’t remove the hum, it won’t work. The lightsaber hum sound is on the same channel as Luke’s dialogue, and after my best attempts, I have to concede that I lack the technical tools to do any more.
So, what I have left to do:
I want to get a V1 of this edit out soon, so I can tick it off as nominally finished. I’m proud of my work on it (and of the work of everyone who’s helped and made suggestions or observations!) and, watching it back today, the movie is finally the film I always wanted it to be.
I was thinking about your planned edit of turning DJ into the codebreaker, and I realized something: if you’re keeping the character who was originally supposed to be the codebreaker in the movie, wouldn’t you need to get rid of his red plom bloom? At the very least, you’d need to recolor it. I’m just worried someone would watch the movie and think “Wait, that random background character also has a plom bloom? Are there two codebreakers or something?”
Good catch, but thankfully, it’s really not visible in the movie outside of the insert shot of it on his lapel. In the wide shot it’s too small and quick to see, and in the midshot, it’s conveniently framed out.
Also, I feel like you’d need to remove Maz’s line about the codebreaker “rolling on a high-stakes table”. It feels like it creates a bit of a contradiction, with Maz saying that the codebreaker is a rich classy guy and him turning out to be a bum in prison.
Maz never actually says he’s classy or rich in that scene; just that he’s an expert codebreaker, a good gambler, good with a blaster, and good at sex, all of which tracks with DJ. Remember, in TFA, Maz hangs out with a seedy crowd. To me, the more jarring concept is that in the theatrical version, this type of codebreaking is so expert and difficult that Maz only knows of one other person in the galaxy who can do it, and then a third person just happens to stumble into their path in a giant coincidence.
Well if we want silence we can always replace all the films with black screens without sound, each exactly the same runtime as the theatrical cuts.
Featuring all-new soundtracks by John Cage.