People who have a problem with space Leia also think 2001 is a farce, right?
Just further proof that Tarkovsky’s Solaris is better. 😛
Still need to finish that. It was getting pretty intriguing where I left off.
Until I figure out what to do about Canto Bight, I will finish up rescoring the Rey/Kylo vs Guards fight. Since I don’t watch the prequels as part of my personal canon, I want to see their share of great music implemented in the sequel trilogy. In TFA I used “Immolation Scene” music for Han’s death. The first of three possible rescores for TLJ will be “Duel of the Fates” for the guard fight. Here is the reason I think it works well:
-First off, it is just a piece of fantastic Star Wars music that makes almost anything better.
-Thematically, it’s completely appropriate music wise. The fight with the Guards is meant to show the potential for the power and domination that could come from Rey and Kylo combining their powers. Seeing this at stake and it’s epicness is what Duel of the Fates would help to contribute towards.
Obviously this is more for people who don’t have the PT in their personal canon, so I am open to suggestions and will release an audio track of my edit with no rescores. You can expect at least one other rescore that I am very excited about (still finishing audio work) and then one other possible one that has two potential scenes it can be used on.
RLM is great, so was their R1 commentary and all the related videos.
RLM’s rogue one commentary is incredible. I’m gonna listen to it for the third time today.
I want to see them bring Tony Stark’s character to an epic end. That’s the story element I care most about since he’s my favorite MCU character and the one that started it all.
I still have a suspicion that not nearly enough characters will die. I want to say pain, death, and misery in this film.
Maul on Mustafar. (For Some reason.)
Before
After
That looks awesome.
Took some advice from various feedback I got and tried to improve the first Canto Bight scene.
-Full Casino establishing shot restored after they are reported for parking on beach.
-Tracking shot of Canto Bight is cut short before we see Finn and then a shot of someone popping open some champagne is clipped to the end instead.I like this version since it gives breathing room to feel the Casino before we see Finn and Rose. I like being able to absorb the culture and feel of the visuals and then getting out of there quick enough so we don’t get bogged down in other material.
Please tell me if there is anything else that can be improved.
Just a thought, but would it work with the tracking shot first? So: “from stories”, tracking shot, clinking glasses, balcony, waterfall, reported on beach, wide angle of casino, champagne popping, Finn?
I’m not sure this would work all that well. The idea with the current order of scenes is that she says she has only heard of Canto Bight, the planet itself, in stories. Then you see the planet shots before anything in the casino. Then after the man says “they headed off towards the casino”, you get a wide shot of the casino, then you see inside, and then we see Finn.
Took some advice from various feedback I got and tried to improve the first Canto Bight scene.
-Full Casino establishing shot restored after they are reported for parking on beach.
-Tracking shot of Canto Bight is cut short before we see Finn and then a shot of someone popping open some champagne is clipped to the end instead.
I like this version since it gives breathing room to feel the Casino before we see Finn and Rose. I like being able to absorb the culture and feel of the visuals and then getting out of there quick enough so we don’t get bogged down in other material.
Please tell me if there is anything else that can be improved.
You will all be surprised to hear then that the transition from the rich people to the waterfall is untouched and rignt from the regular film.
Canto Bight First Scene
-Finn asks Rose if she knows of Canto Bight and she says “only in stories”. After this we cut right to Canto Bight. It’s a nice and streamlined transition with no talk of how the city sucks.
-After they are reported for parking on the beach, we cut to them dashing into the casino, see the codebreaker and then get caught. This shows them in a more desperate rush to help the resistance, removes all animal cruelty elements, capitalism messages, and such. Now we get the core elements of what is needed from Canto Bight.
Feel free to comment on the editing of the clip. I am considering cutting right from “And they just went off towards the casino” to them running in the casino, since the establishing wide shot is a little short.
I loved the lightsaber drop scene. About the Canto Bight one, it looks like what you had described a while back in a post I quoted in another thread recently - your ideas for Canto Bight after your 2nd viewing. Am I correct?
Yes. My title post for the fanedit still has the scene order of a much more radically cut narrative but more and more I think it’s necessary to keep a trimmed version of the subplot since Finn does get some good characterization. DJ actually plays a key role in Finn’s development since he tries to convince how the war is worthless and such. Then he betrays them and you get a great, pivotal moment where Finn declares “Your wrong”. This is some key stuff that I feel should stay.
So my philosophy with the entire subplot is to maintain the elements that build Finn’s development and to cut everything else like animal cruelty, “rich people suck” and such. I’ll post a clip soon to illustrate this.
I’ve been playing around with the digital release and exploring ways to alter Canto Bight.
I’m trying out a less aggressive editing path first off which would be going from the prison cell conversation to them in hyperspace. I am curious whether it would be best to cut to a different scene after the prison or one right after the other to make it less confusing.
-Cut from prison cell to hyperspace
-Used The Last Jedi OST to smooth over transitionThis is a vast improvement. The Fathier chase sequence was the worst part of the movie.
You should cut Rose saying, “That’s how we’re gonna win: Not by fighting what we hate, but by saving what we love.” That might be the most clichéd line in all of Star Wars. It is also nonsensical. It is impossible to win a war without fighting what you hate.
This line will absolutely be gone. I am hoping to either re-purpose Finn’s last speeder run into him crashing right before he reaches the cannon or just getting rid of it all together. I’ll put up a concept clip soon so people can get the idea. Basically he would be closing in on it, then just as he got close, you see the speeder shake, his stabilizer stick thingy come off the ground, the ship turns wayside and then he crashes. I’d have to rescore it as well.
The sound effect of the lightsaber hitting the ground should be a bit softer but I like that edit.
For the Canto Bight scene, my mind immediately went, “Wait, when did they get a ship!?”
Yeah, sadly there is much left to be desired for editing down that subplot.
Very, very rough test for an idea regarding Luke dropping the lightsaber:
That’s great, I’d like to use that. It would be nice to have a shot of the saber landing. Perhaps that could be composited from some other shots, or even filmed by someone with a replica saber.
I’ve been playing around with the digital release and exploring ways to alter Canto Bight.
I’m trying out a less aggressive editing path first off which would be going from the prison cell conversation to them in hyperspace. I am curious whether it would be best to cut to a different scene after the prison or one right after the other to make it less confusing.
-Cut from prison cell to hyperspace
-Used The Last Jedi OST to smooth over transitionI think this needs something in between to establish that they get into/are in the ship and/or that the ship leaves Canto Bight.
That’s the issue. I can’t find anything as of right now that would serve that purpose well. If I can’t find it then maybe just a trimmed fathier chase is the route. But I’d really like to find a way to get rid of it entirely.
The fathier chase wouldn’t be too bad if it was shortened. As long as the cringy lines and overly comedic shots of the casino being smashed up are gone.
Perhaps but it sucks up so much screentime and brings the pacing to a halt so I’m really set on finding a way to axe it completely.
Stefan Molyneux is off the rails.
Very, very rough test for an idea regarding Luke dropping the lightsaber:
That’s great, I’d like to use that. It would be nice to have a shot of the saber landing. Perhaps that could be composited from some other shots, or even filmed by someone with a replica saber.
I’ve been playing around with the digital release and exploring ways to alter Canto Bight.
I’m trying out a less aggressive editing path first off which would be going from the prison cell conversation to them in hyperspace. I am curious whether it would be best to cut to a different scene after the prison or one right after the other to make it less confusing.
-Cut from prison cell to hyperspace
-Used The Last Jedi OST to smooth over transitionI think this needs something in between to establish that they get into/are in the ship and/or that the ship leaves Canto Bight.
That’s the issue. I can’t find anything as of right now that would serve that purpose well. If I can’t find it then maybe just a trimmed fathier chase is the route. But I’d really like to find a way to get rid of it entirely.
I’m planning on joining together the ending of TFA and this scene of TLJ since my personal TFA edit has DigiMod’s ending. I’ll be making multiple versions of my edit however.
Both of those work really well. That take on Like dropping the saber should be mandatory for every TLJ edit IMO.
Thanks. I am still pretty iffy on both. I am unsure whether the transition from the cell to hyperspace feels natural enough and I wish there was a shot of the saber by itself on the grass or falling to the grass. That would be the icing on the cake.
Very, very rough test for an idea regarding Luke dropping the lightsaber:
I’ve been playing around with the digital release and exploring ways to alter Canto Bight.
I’m trying out a less aggressive editing path first off which would be going from the prison cell conversation to them in hyperspace. I am curious whether it would be best to cut to a different scene after the prison or one right after the other to make it less confusing.
-Cut from prison cell to hyperspace
-Used The Last Jedi OST to smooth over transition
This isn’t something totally necessary, but I noticed two minor things that I thought could be easily fixed. Though I’m curious if anyone else noticed these, or thinks it even requires these additions.
When R2 is showing Luke the original hologram, Luke calls it a cheap move, then R2 turns to give Luke a look. It cuts back to Luke, who returns to watching the hologram, and it then cuts back to the hologram, which is in the same place as before, even though we didn’t see R2 turn his head back around. I think it would be nice if R2’s head motor-sound could be added during the Luke shot, implying R2 turned his head back around. Not at all necessary but I thought it’d be a nice touch.
A similar situation, when we are introduced to DJ, we first see him with his jacket collar popped up. In the next shot of him, though, it is popped down. Also not a big deal, but I thought one could add foley of folding leather or cloth in the inbetween shot of Finn & Rose to help with this.
I think at least adding the R2 sound would be simple enough, but then again maybe it would draw more attention to the continuity issues.
Good idea for a change there!
I wish it would be possible to get rid of the “cheap move” line but the hologram speech intertwined with the music makes it just about impossible.
From the deleted scenes, the only one I think would be of good use is Luke mourning. Everything else feels a bit tacked on and the third lesson scene was cut for good reason.
If you have a music only track doesn’t that mean you can do an inversion method to eliminate all music in the channels? I thought I heard something about that a while back.
Maybe people wouldn’t have minded the lightsaber toss so much if he did it like he tossed his green saber in ROTJ.
Exactly. The way TLJ framed the shots, timed the music cue, and choreographed it, led up to a slapsticky moment meant for comedic impact. If the execution were a bit more serious, it could have been more powerful. It’s probably one my least favorite moment’s in the movie cause it was so close to working.
There is no shot of the saber hitting the ground. Luke’s arm falls below frame with the saber if I recall correctly as he prepares to toss it, so it could be repurposed to looking like he dropped it.
