Ming is here! There aren't credits big enough for him in this movie. A whole second unit dedicated to running around in the snow to enhance the movie... It's awesome to hear about.
FanFiltration said:
doubleofive said:
I have a draft of a change list page ready if you want to use my list-making abilities.
Thanks, I would!
As far as including footage from the remastered T.V. series, I would rather hold off until the end phase of the project. To start off, it would be best to work within the STMP footage, and just grab from other sources when absolutely necessary. When taking sound or visual elements from outside sources, I would like to keep those sources within the Star Trek franchise.
http://doubleofive.wordpress.com/fanfiltrations-star-trek-tmp-edit/
Darth Editous said:
You mean something like this:
tvtropes doesn't seem to "allow" linking of their images, but you probably still had it in your cache.
David
I've always like the shield effect, and enjoyed that its present in the few shots in the PT that it is. However, for continuity's sake, adding such effects to the OT would be quite intensive, as it currently looks like none of the ships have shields.
Perhaps ship shields are invisible at all times, but there's nothing saying the Death Star one can't ripple at being hit.
vaderios said:
More DS surface something
-Angel
Awesome, as usual. At this rate you'll have painted the entire DS2 surface before we're done!
topdawg193 said:
Was watching ESB today, and something jumped out at me (which I don't think has been mentioned before). It concerns the scene where Luke is hand-standing and levitating nearby objects, and eventually levitates R2.
What struck me as clumsy was that, in the shot where we get a close-up of R2 being lifted off the ground, once he ascends he then just suddenly stops in mid-air unconvincingly, as if he was on a lift/elevator that reached its topmost level. What I was thinking could help with the believability of this shot, was if R2 could 'dip' a little bit in the air after he is lifted up, to make it look as if he's actually floating and is not just on some platform or supported by something else.Pedantic, I know. It's funny some of the things that catch your attention in films, though.
Good point, and seems like it would be fairly easy to do.
Also, I was wondering, what is the game-plan for the Cloud City extended window shots (when Han and co. first arrive, and then when going to lunch with Lando)? Are they being kept, or is the old set being reverted to? I really liked the open-ness those SE additions brought to Cloud City, but I also saw that they caused a lot of continuity errors (one shot featuring the new open windows, the next shot having the old windows, and such).
I think it'd be good if the SE windows could be kept, with the continuity errors somehow fixed around them, rather than going back to the closed-up windows (though I'd encourage removing or de-voluming the new 'lift-noise' in the sound mix that one of these new shots brings; intrudes a little bit too much on the dialogue, I think). Apologies, I know this particular topic has been discussed at length before, but I'm not sure what the final outcome was.
Current state of the SE windows are:
Arrival - open window at end of hallway closed due to close up shots later in the scene where they pause on the stairs, using the GOUT tracked on top of the SE (he released a test video at one point showing this).
Lunch with Lando - Ady has stated that he's keeping the elevator window open in all following shots. Still have no idea how he plans to accomplish this.
FanFiltration said:
How does this sound? At the start of the film, there is an attack on V'ger by only one Klingon D-7, and then later 3 more come into the story to seek revenge for their lost ship. Then we get two Klingon scenes... I think the Klingons would send in more firepower for revenge.
I like the revenge idea, still presents V'ger as a threat from the first and adds more tension to the middle of the movie besides "What the hell is that thing?"
I'm not so sure on the lack of reactions by the crew to not only have V'ger, but Klingons that deep into Federation space(?). I'm sure if anyone can find the footage, its you since you have access to every piece of footage released for this movie. ;-)
I'm excited for this edit as the more I watch TMP, the more I appreciate it; but I still don't like it, if you know what I'm saying. Maybe some further restructuring to eliminate a lot of the slow-down is what it needs, along with some action without making it a completely different movie.
I have a draft of a change list page ready if you want to use my list-making abilities.
Mr. xhonzi does not believe that yellow people are people are all. And that's not even a proper picture of a "mugato":
Chewtobacca said:
Could some footage of the Enterprise with the new special effects found on the blu-ray release be used? I know it is 4:3, but it might be possible to use it.
I used the 4:3 Blu-ray images from TrekCore to create the double-DVD resolution images I just posted, so yes, it could be used with the proper BR rip. I just wish they had released the full 16:9 images they rendered for the new effects shots, as it would probably be composed better.
I threw together a mock-up using the TOSR Enterprise from "Tomorrow is Yesterday". It could use work, and I'll try to add damage later.
View Image to see the full-quality images:
griffon8 said:
Here's the complete file name I got:
Star.Wars.Episode.IV.A.New.Hope-Revisited.2008.DVDRip.mkv
It had all the changes Adywan mentioned. As I said, it played fine in QuickTime after getting Perian. But the latest attempts at watching the movie plays in a dubbed version.
Someone ripped the ISO and just put movie file up. Interesting.
OK, I like the idea of the Original Enterprise coming into orbit over Earth, maybe with the Starbase from Star Trek III in the distance. The "Crucible" book series and the "Phase II" fan films were going to have the E be damaged so much that it needed to be refit, so maybe you could track some damage on there, or get one of the excellent CG artists out there to render you an all-new shot (I can find you some links), or even use the ion storm damaged E from that one episode where they have ion damage (sorry, can't remember off the top of my head).
There are a few shots of the E in the Director's Cut that still need some help where you can see through the nacelles and so forth (esp during Spock's docking scene). What version are you going to use as the basis for your edit?
I'm not sure about the major restructuring of the film itself, but I'd have to see the proposed 3-way battle to truly judge it. Part of my problem with moving the Klingons is that we'd only see V'ger disintegrate the defenseless science station, but currently in the film we see 3 Klingon cruisers that we know to be a threat disintegrated without a second thought, which really shows that V'ger don't care about no one.
I'd love to help out any way I can, if even just keeping track of a wishlist and mockups like I'm doing for RotJ. Let me know.
xhonzi! doubleofive, Secret Agent Quarterly. As one of your corporate stooges, what should my main objective be?
Actually Angel, I'm pretty sure Ady said he would be making it more obviously sunrise, so I think you're closer to the final product than previous previews!
I believe the timeline will be arrive at sunrise, get changed, get captured and tortured in the late morning, Luke comes in the afternoon, everyone escapes as night is falling.
I've always thought that they arrived at sunset, spent the night (giving Leia and Han some alone time, if you know what I mean), they wake up the next morning and Leia is upset about 3PO being missing "for far too long to have gotten lost", then it goes until sunset again where they escape.
Darth Editous said:
doubleofive said:
I figured something to do with chromakeys, but I've not messed with that in the all-powerful CS3.
You need to channel your thoughts in a simpler direction - you'll getting all mixed up!
DE
I follow the source, but it is untrustworthy!
Darth Editous said:
doubleofive said:
Here I thought whoever edits RotJ and wanted to fix the saber glow would have to do background replacement for every shot. Now you say you can do it with filters, but you won't tell us HOW?! This is a discovery of epic proportions! You must share it, for the good of the Republic!
Yes, how did you remove those GREEN sabres? Those very, very GREEN sabres, which aren't RED or BLUE? ;)
David
I figured something to do with chromakeys, but I've not messed with that in the all-powerful CS3.
vaderios said:
Ok im Happy now...
I found one new techique to erase the damn glows and revealing the under detail only with PS filters/ways.
This way leave the footage ready to color correction :D
Here some quick examples of what can this do..
*awesome*
This works removing glows from holos and electricity ;)
It was tested...on captain solo
-Angel
Here I thought whoever edits RotJ and wanted to fix the saber glow would have to do background replacement for every shot. Now you say you can do it with filters, but you won't tell us HOW?! This is a discovery of epic proportions! You must share it, for the good of the Republic!
What you want is impossible. The closest you could get is just using the center channel of the 5.1 sound, but even then they deliberately put some music in there to prevent exactly what you want to do. I'm sorry, but having just the dialog is one of our greatest dreams, but unless we get access to the original recordings, an impossible one.
Darth Solo said:
Cum again? Side-project? Do tell..
A series of Revisited teaser posters I mentioned to him a few months ago. Nothing major.
zombie84 said:
That all depends on the assumption that the P&S is NOT a blow-up from the widescreen, which probably isn't the case. In the 80s and 90s the 4x3 transfers were minted straight from a print because this was 99% of the market, but in the DVD era where 4x3 is not liked I think they are more often than not just blow ups from a widescreen master. Even on Fox's "what is widescreen?" feature on the Die Hard 5-star DVD from 2001 they show the fullscreen process as derived from the widescreen master and thus losing resolution.
I've not seen that feature, or knew that they would seriously make the P&S versions from the widescreen scans they already made. Are the Star Wars 2004 DVDs done like that (not like we don't have the 1080p files floating around to use as sources)?
"Release the originals!" with the old style logos (no episode numbers).
Angel, as usual, your art is incredible. Have you had an opportunity to do anything for our little side project?
mrbenja0618 said:
Yeah, I had no clue either.... I guess it happens so fast... I demand that you put Sebastian Shaw in there! =)
Yeah, theres mechanical parts all over the place when he's getting zapped. Some of it actually matches stuff in RotS if I remember correctly. I saw a breakdown once...
Since these are supposed to be recreations of the 1997 SE, Naboo will 100% be gone from the celebrations.
xhonzi said:
As a finished product, I agree that fullscreen is terrible. I was mostly commenting that you get higher resolution image on that part what is still there... assuming that it's pan & scanned from a high resolution source and not the companion widescreen version. In case that isn't clear, if the pan and scan version comes from the film negative or a 2k or 4k scan of the negative, then you get some higher quality images than the widescreen version. Not that you'd want to watch it that way, but if you wanted to *ahem* borrow the images for DVD covers, or fan edits, or something like that... they are higher quality than the widescreen of the same since they are made of more pixels.
Furthermore:
There are 345,600 pixels in a 4x3 480p image. If ~50% of those pixels are black bars and another %25 of those pixels are the sides that are cut off during pan and scanning... then the equivalent pan and scan image is 1/4 of the total resolution: 86,400. Compared to the resolution of the same box in the P&S version: 345,600. There are 921,600 pixels in a 16x9 720p image. The same movie would be about 33% black bar in this movie. And then the same square would be about half of the remaining image. Or 304,128 pixels. So, the resoltion of the P&S square (likely the most important part of the image) is actually higher in the SD P&S image than it is in the HD Widescreen image (at 720p). Of course, the best is the 1080p image.
Again, I'm not advocating watching movies in P&S, but for creative types looking to borrow the images, the value of a P&S release should not be overlooked. Based on the assumption that the P&S pixel data come from a higher def source than the wideside version itself.
I've always figured that, but never run all the numbers. P&S is good for maybe taking elements out of for object replacement/sharpening in widescreen video or posters, but only if they pulled from the print to make the P&S, unless the image is in motion across the widescreen image which leaves behind that weird effect I can see all the time now.
Heck, I noticed the pan in an episode of The Clone Wars this morning, its its all digital!
vaderios said:
No more reflections..
The last pic...oh well
-Angel
LOL thats awesome. However, I'd love to have just the top two pics for the Wishlist. ;-P
