dgraham414

Hal 9000 said:

I don’t remember whose recordings each was, but as it stands here’s what I’ve implemented:

As Chewie runs off on Pasaana, two KoR say, “Solo’s Wookiee,” and “I get his teeth.” The latter turns his head and it feels like it always was that way.

On Kijimi, the KoR step into frame and the apparent leader says, “Palpatine wants the girl alive. Kill the rest.”

On Exegol, as the KoR step out from around the corner to confront Ben, two say, “Well look who finally made it,” and “Traitor!” The latter is an obvious mirror to Kylo in TFA, highlighting his transformation.

Later, when he pulls the lightsaber out of his ass, a KoR says, “What? How?” And then they all get chopped up, with a few vocalizations that have always been there.

I don’t think these are intrusive, and are 4 out of 6 possible moments for KoR dialogue. (Excluded are “may our bond never again be shattered” during the helmet reforging, and “You betray us for a scavenger” between the other two Exegol lines.)

These additions are the least intrusive and I think its the best implementation you could have used.

While the KoR lines work in a specific scene sense, I’m not sure if they will blend into the movie very well. Right now we have a silent group of evildoers and I think that voices have the chance to ruin certain scenes.

What immediately comes to mind is the scenes on Exegol where the focus of the scenes we recorded lines for are on Palpatine’s monologue to Rey and Ben taking up his grandfather’s saber.

I’m just not sure that it will fit in the context of the film as a whole. We shall see

Octorox said:

I like it how it is in the workprint. It clearly plays like there was a longer message and we’re just hearing the tail end of it. I don’t think adding more of the message would lead to any sort of substantial improvement.

+2

Woohoo thanks dude!!

I think what is in the work print works best between the two options

Cinefy said:

The latest workprint I have has no mention of lightspeed skipping, looks like Hal already cut it, or am I completely misunderstanding what you’re trying todo?

The goal is to exclude Lightspeed skipping but keep as much of the trio interaction as possible

Jake! Your work looks really good! V3 is a great improvement! It’s honestly a great compromise to removing lightspeed skipping while keeping Rey and Finn’s interaction. What do you think Hal?

Hal 9000 said:

Okay, having thought about it some more and letting a break take place first, I will reiterate my prior decision to edit out the mention of lightspeed skipping. I think this is less distracting overall. It’s a tough call and you can make a good case for either route.

I understand.

In other news, Skenera sent me a great Naboo shot based on snooker’s output without the SD and explosion elements. I will include this in the workprint, which I hope to have ready by the weekend.

This is awesome though!

krausfadr said:

Now we all know why Luke wanted to go to Tosche Station so bad and pick up some power converters. His friends told him he should try lightspeed skipping a sand speeder.

Reminds me of that Dukes of Hazard joke from Robot Chicken Star Wars

I think the rambling is just as pointless as “power converters” or “moister vaporators” or “speaking boche” or “thermal oscillator” or “compressor adding stress on the hyperdrive” or “GIVE ME THE HYDROSPANER!”

When audiences see the original film they see the Falcon flying into different parts of space rabidly and they hadn’t seen that before (set aside that it’s stupid). The question is then “what is that??”

Answer in the film and canon; Lightspeed skipping

When watching the film now with Lightspeed skipping removed we see the falcon punch through a solid object while moving into hyperspace, something we have never seen before.
Question. “Didn’t the last time we see a ship fly into something at Lightspeed it destroy almost a whole fleet? Why doesn’t this maneuver destroy the falcon?

Answer: “you Lightspeed skipped? You can’t Lightspeed skip the Falcon!”

The audience now knows that the maneuver Poe and company did by punching threw the ice wall is different and a risky maneuver with an in-universe name. With a simple line of technobabble the question is settled. Without it, the question remains, “why were they able to punch through the ice wall?”

If we had not seen the act of Lightspeed skipping before, if we didn’t have that context, I don’t think that line would be in contention at all.

I understand everyone’s reasoning, I’m sorry that I’m harping on it I mean no offense, just want to explain my thinking. The added bonus is retaining one of the very few interactions we have between Finn and Rey.

Hal, I know this is a long shot but would you consider rendering a version of your final edit with that Lightspeed skip conversation intact? I could host it on my own google drive since I understand space is getting low on yours?

natm said:

Hal, since I’m assuming you are keeping the scene as is in the edit, do you know which video editors can program LUT’s so that I could add back in some things later to fit in the lut used for this project?

Out of curiosity what are you adding back in?

Hal 9000 said:

And that was the resolution last time this was vetted. I think Finn “teleporting” is a non-issue, and his lack of highlighting in the scene is the only real issue. And it’s something that, while odd, probably wouldn’t have caused us to bat an eye in the theater.

Also, I don’t think moving the horse shot works. It feels even weirder. So I think what we got last time around stands.

Yeah it probably doesn’t, it was just a thought. I appreciate you looking into it though 😃

Brewzter said:

Just realized that since I’m planning on adding a few things back in that were cut (Rey and Finn’s chat about Poe at the start, Rey holding the dagger to see the Throne Room location, etc.) I’m going to need to match them in color correction. How would I do that on my own? I’m pretty inexperienced in video editing

That’s what I’ve been thinking about a lot. I don’t have the hardware or the software to try to add things back into the edit when it’s completed that didn’t bother me and I think are necessary (pretty much just the Lightspeed skipping conversation)

Honestly though I think if you showed the scene with a reference to Lightspeed skipping to anyone who hasn’t seen the movie before they wouldn’t think it was anything bother than what they saw

I think a simple recontextualization of the line is in the best interest of first-time viewers and us watching this edit in like 4-5 years.
But leaving out the actual event… I completely understand that.

Hal 9000 said:

I think as Poe and Rey are talking we see several shots of either closeups or tight medium shots. So there’s plenty of time for Finn to walk up. I think it’s better this way than lightspeed skipping dialogue that doesn’t make sense if the TIEs don’t follow them into hyperspace. The only other way is to leave the scene untouched and to assume the term refers to jumping to lightspeed either through the ice or without calculations.

The horses arriving is a little abrupt but has to be that way to remove the compass.

I don’t think assuming lightspeed skipping, as referring to jumping through an ice wall without calculation, is a difficult logical jump to make. It would fit in with the rest of the technological babble that is commonplace in science fiction (including Star Wars.) We wouldn’t need an explanation of lightspeed skipping since we saw them do something that we hadn’t seen before, specifically lightspeed ramming through a wall and surviving. This alone would be considered lightspeed skipping in the context of this edit.

My issue with Finn walking up is that we can clearly see in the shot before he arrives that he is not there. It is not as if the shot where he is there he is just walking up, but he goes from not there to standing there as if he had been there this whole time without introducing himself. Rey would want to see him since we know from TFA and TLJ that their relationship is important to both of them. For Finn to return from a mission and Rey not acknowledge him at all doesn’t work for me.

With the horses, I get it, it is unfortunate though. I do think rearranging just two shots could make it flow better. I’m at the mechanic right now but I’ll try to explain my thought.
We see Rey looking over the Death Star wreckage after the Sith Whispers
We then see that one 2-second shot of the horse close-up coming over the hill
We then hear Poe say his line and pull up his blaster
We then see the shot of Poe’s blaster up with Janna coming down the hill
We would have to remove the 2-second shot from this point to fit continuity,
The scene then continues with no additional cuts.

To make this easier, perhaps removing Rey looking over the wreckage with the 2-second horse shot would allow for little audio adjustment.

Hal 9000 said:

• Removed Rey using the dagger as an impossible compass while surveying the wreckage of the second Death Star. Sith whispers have been added strategically to imply the dagger mystically guiding her to the Wayfinder✅

Okay so I’ve been pouring over this specific transition for a bit and it is so jumpy. Unlike TFA:R or TLJ:L there seem to be moments in this edit where cuts are made but the transition needed because of the deleted scene is jarring, even for first-time viewings. Another example of this is Finn showing up randomly during Rey and Poe’s argument when the Falcon Lands. It’s almost like people have gained the ability to teleport distances of about a foot or two, the in-scene continuity is lacking.

For this scene, if the horses are shown before Poe turns around and points his blaster it might justify his apparent teleportation better.
So the scene with the blade and whispers ->
then that quick shot of the horses coming over the hill (it is a close-up, which is awkward, but it would still work) ->
Then Poe turning and pointing his blaster, then the scene could continue from there.

As for the lightspeed skip conversation, I know we discussed this before, but making that cut removes the concept of lightspeed skipping yet makes that scene suffer by teleporting Finn which just seems like an edit for edits sake. As is it is just too obvious that a scene was cut introducing Finn into the conversation.

EDIT: Looking at the Falcon landing scene again Poe teleports a couple of feet in front of Rey also when Finn shows up (since we have that shot of BB8 watching them argue.)

There’s not a problem with the music chosen for that scene, what is a bit irking to some is that immediately after it plays it plays again.

My only issue with the music right after “I am all the Jedi” is that once that music bit Ends it just repeats slightly slower. It is such recognizable music that it’s impossible to miss

I would love to see this! Many edits that incorporate sc38 leave the cringe dialogue so this would be interesting

Are there any differences between this and the film we got is 05?

Somehow it was done, maybe a little slower but it looks amazing!

JEDIT: would it be possible to have it move down frame so it can call like Bespin and Jakku? Not necessary just a thought

That switch with the slow down is so much better! I think the Naboo shot needs some sound though since Bespin and Jakku both have sound.

bbghost said:

dgraham414 said:

Sorry for the quick small posts but should the shot change from Coruscant to Naboo right on the swell of the music? I don’t know if that type of editing works for a film, my only experience is Music Videos

JEDIT: Or a beat after where it comes in would work too

The purpose of the shot’s inclusion in the first place was to not have to mangle the music edit due to moving the Endor shot earlier in the film, I’m not sure there’s a way to make that work smoothly.

You wouldn’t adjust the audio at all, just shortening or lengthening different shots, leaving the audio alone.

Sorry for the quick small posts but should the shot change from Coruscant to Naboo right on the swell of the music? I don’t know if that type of editing works for a film, my only experience is Music Videos

JEDIT: Or a beat after where it comes in would work too