Knight of Kalee said:
So, making the Skywalker blade also distorted serves two purposes:
- continuity fixing. It acknowledges the ending of TLJ, where the lightsaber was split in half. Rey repaired it, but in an imperfect way, leaving the blade unstable as a result. The actual kyber crystal IS seen when Rey holds the pieces of the broken saber. So it’s less of a retcon and more of an actual consequence.
- storytelling tool. Rey wielding a crackly lightsaber represents her inner conflict and her struggle with the dark side. It mirrors Kylo’s blade, and also serves as a subtle irony when Ben finally claims his grandfather’s weapon, but it’s damaged and imperfect.
Thanks Knight of Kalee that explains it well.
So is the idea that Rey modified Luke’s lightsaber to make it crackle? If so why would she do this? Sounds iffy like people have run out of things to edit on this movie.
Starkiller now I know there is a position called Project Manager Manager. I will update your resume.
THIS EDIT IS IN PROGRESS
Overall goals of this project
-Reduce abrupt shifts in tone, like suddenly they wanted Hanna to be Scott Pilgrim
-Make Erik more serious
-Make Agent Wiegler more of a villain early on and a less likable character
-Reduce the odd mouth movements and less than stellar acting of Agent Wiegler
-Trim ponderous filler moments for better pacing
-Remove any low-budget and awkward looking shots
-Use more female artists in the musical score (Lissie, Warpaint, etc.)
-Incorporate some hardcore Industrial music, where appropriate (Combichrist, Killing Joke, etc.)
- Brightened opening scene of Erik sitting in a chair.
- Added a little camera movement as Erik approaches the security gate.
- Muted Erik’s expository line in the lab telling the baby he’s taking her to her mother.
- When Erik punches the guard into the fire, the man is not knocked unconscious and instead continues screaming while burning to death.
- Added some extra sizzling and popping sounds after the guard falls fully into the fire.
- Escaping the lab, trimmed Erik slowly getting into the getaway car with Hanna’s mother.
- In the forest near the lab, replaced the pavement peel out sound with a dirt/gravel sound as Erik speeds away.
- Cut Agent Wiegler’s final delayed pistol shot as the car escapes the hotel.
- In the escaping car, cut the mother’s exposition to the baby saying, “Mommy and Daddy are taking you away.”
- In the escaping car, added camera shake, notably to the still shots of the baby.
- As the car stops at the edge of the clearing, the music track ends a little earlier.
- Replaced the pavement peel out sound with a dirt/gravel sound as Erik floors it to try and reach the other side of the clearing.
- Added more booming car ambience as it rattles along across the clearing.
- Added the music, “Love is to Die” by Warpaint during the practice fight between Hanna and Erik.
- Trimmed Agent Wiegler making a prolonged weird face as she sits on a park bench.
- Trimmed Hanna and Erik awkwardly moving to hide behind a tree.
- Changed the closing music to the song “Daughters” by Lissie. Re-foleyed the helicopter sound fx.
- Extended length of credits for the full song to play.
- Trimmed Agent Wiegler’s prolonged staring after the agent asks her if she heard Hanna asking for her.
- Cut fake Agent Wiegler’s first round of questioning Hanna. This actor’s vocal delivery was bad, and this also eliminates the real Agent Wiegler giving her instructions through the earpiece. Hanna would have heard this.
- Trimmed fake Agent Wiegler’s reaction (insta-dead) when her throat is slashed.
- Cut Agent Wiegler trying to be nice to her French boyfriend’s annoying kid. Now she comes home and somewhat ignores her boyfriend.
- Trimmed the prolonged shot of Agent Wiegler’s face after she examines the document in her bedroom.
- Trimmed Hanna and Sophie, her new bestie, walking in the desert just before the car approaches.
- In the strip club, cut the conversation about Agent Wiegler’s coffee habits, such a boring backstory.
- In the strip club, rearranged sequence to trim some of Agent Wiegler’s painful to watch facial expressions.
- In the strip club, cut Jacobs’ ending line subtly agreeing to help. He instead just smiles when Agent Wiegler says she can’t use official channels to hunt down Hanna.
- Trimmed the final moments of the strip club.
- On the ferry, cut the mother’s lines to Sophie, her daughter, about going to discos.
- Cut closeup and long shot of Hanna peering over her sunglasses in an exaggerated manner to show us she knows she’s being followed. Now very subtly it shows maybe she knows.
- Cut Jacobs watching surveillance footage of what he just personally witnessed in the Ferry parking just to give expository of why he’s not grabbing Hanna yet.
- Moved the scene of Erik buying supplies earlier so the plotlines feel more intertwined.
- Used suspenseful music when Hanna mails a postcard, and this scene now transitions into Erik’s elderly mother in the kitchen, also using the new music.
- Cut shots of Agent Wiegler’s friendly, smiling face when greeting Erik’s mother at her front door. Rearranged and trimmed the scene.
- Trimmed amount of time Jacobs and his henchman are just standing in the hotel room before they search Hanna’s backpack.
- During the club makeout session, changed the club music to “Jupiter 4” by Sharon Van Etten.
- Changed the ending music to “Seventeen” by Sharon Van Etten and moved the start of the music earlier to when Hanna is about to shoot one of the assailants in the train station.
- Extended length of credits for the full song to play.
- Cut Hanna’s line “what is more important than me?” On the street, now she just asks her father where he was.
- In the car, cut the dialogue with the driver about Hanna being educated and Erik smiling about it.
- Stopped at the hideout gate, Erik does not smile.
- Cut Erik running into the hideout like a schoolboy, and he and Elsa overly fawning over each other.
- In the hideout, cut the bromance about Erik looking good.
- In the hideout, cut the lighthearted joking about Lukas not returning money.
- Cut Erik smiling as he asks Hanna if she wants to freeze to death.
- Cut the bro banter as Erik and his buddies walk upstairs.
- Moved dialogue so when Erik asks Hanna what she knows about hotels, he is no longer smirking.
- Trimmed dialogue and footage so Erik no longer smirks when he tells Hanna to stay in the van.
- Added some more camera movement when Erik and the gang infiltrate the weapons depot.
- Sped up the van when Hanna comes to the rescue.
- Erik doesn’t smile and laugh when Hanna drives them away in the van and makes the police car crash.
- As Agent Wiegler is being driven to her hotel, trimmed the part where her little colleague turns and stares at her.
- Significantly trimmed parts of Agent Wiegler’s arrival and conversation at the bar with Jacobs. The fluff is gone, and they’re more serious. She now becomes annoyed and leaves him talking to himself in drunk midsentence.
- Trimmed Agent Wiegler’s walk into the hotel. She doesn’t get a premonition while outside.
- Cut Agent Wiegler’s phony smile at the hotel clerk after she spots surveillance in the lobby.
- Cut away from Agent Wiegler in the hotel room with Jacobs before she starts pouting her lips with emotions.
- Erik doesn’t wake Dieter up by throwing pebbles at his window. Presumably Erik used a phone like an adult.
- Removed Erik as an awkward spectator during the soccer game with Hanna and the gang. He doesn’t drive up during the fun.
- Changed the music during the soccer game to “Harder, Better, Faster, Stronger” by Daft Punk to give it some more lightheartedness, instead of once again hearing Hanna’s somber theme.
- As Erik watches Hanna practicing soccer later added the music: Sadness by Sascha Ende, Link: https://filmmusic.io/song/144-sadness, License: http://creativecommons.org/licenses/by/4.0/
- Cut Agent Wiegler writing Johanna’s name on the board. Bad overacting.
- Cropped Agent Wiegler (or her face) out of the frame during much of Lukas’ interrogation.
- When Erik gets a call with Hanna it vibrates instead of ringing like an old school phone. He’s tactical (and other characters had this exact same ring = lazy foley).
- Cut Agent Wiegler’s voiceover saying “mmm-hmmmm” to her colleague talking about not shooting on German soil.
- Cut some of the unnecessary swerving in the parking garage.
- Cut the German banter after Erik’s friends park in in the parking garage.
- Cut Erik’s guy walking in the garage, now he’s just running.
- Cut the weird face Lukas makes when Erik accuses him of being nervous. Now he just takes a drink.
- Sped up the car as it hits Jacobs, and restructured the sequence so it is a surprise.
- Replaced closing credits music with “This Shit Will Fuck You Up” by Combichrist. Removed some of the lyrics not supporting the themes of this film.
More to come as the edit progresses…
This is a thought, this is all it is, just a thought - what if we put ourselves in the shoes of someone that has never seen the movie… what if, we keep the suspense going a bit longer, so, you have no mention of Palpatine in the crawl…
A delayed emperor reveal seems to be the original plot line. Your thoughts on how to do it are quite valid and would work. Though the way I handled it is once Palpatine threatens to use his fleet against Kylo he’s like eff off old man— so he retrieves the Wayfinder and heads off to confront Palpatine. If Hal wants to go for a more radical Rey Nobody edit your ideas could work while still keeping the Mustafar intro.
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How about this?! I think this feels more Star Warsy!
That solves things and also looks great.
Like, she kills 6 guards, then we cut to Ben killing some more Knights of Ren, and then she kills those same 6 guards again, simply shot from various different angles, as if they were complete different set of guards.
Which, once you see it, holy shit, you can’t UNsee it.
So basically Disney fan edited their own footage.
If those sounds patched together actually end up believably sounding like “he’s alive Rey” I will bow before the person who frankenspliced it.
How to give Finn an arc as an actual force user:
On the Star Destroyer, Jannah plugs in the turret but it sparks and then makes a sound like it shuts down.
Close up of Finn closing his eyes.
Reverby dialogue of Finn saying “a feeling…”
The turret powers up and starts firing.
This would likely require a bit of vfx for the Finn close up with eyes closed as there’s not ideal material that would fit right in.
That was really fun! Good transparent logic in the spreadsheet. I can’t wait to put this into an edit. Now who’s ready to voice Klaud?
Wow, that looks great. My only nitpick is that the crawls usually have certain words in all caps for EMPHASIS. I would recommend capping FIRST ORDER, REY, and KYLO REN. Maybe RESISTANCE and/or MUSTAFAR as well, but those might be too close to the other capped words.
Thanks, the site streamable.com re-encodes the file so it looks kinda crappy on there. I believe Sir Ridley is doing Hal’s crawl, but I can be a backup if needed (or can render crawls for other people’s edits). I can do a HQ lossless render into a mov or mp4.
Hal I was working on my crawl in Blender using jackpumpkinhead’s Custom Crawl Creator v2 and I also did a test of your crawl (tweaking the 2nd line slightly).
Here’s what your crawl looks like rendered in blender with custom kerning, chromatic aberration and all that good stuff…
Flames of rebellion burn across the galaxy. The tyrannical First Order has retaliated by attacking any planetary system suspected of supporting their enemy.
As Rey, sole heir to the Jedi, continues her training, General Leia Organa sends her brave agents across the stars to unite the disparate worlds in the name of Resistance.
Meanwhile, Supreme Leader Kylo Ren has traveled to Mustafar, chasing whispers of a hidden power that would allow him to destroy any threat to his rule…
EDIT: I just corrected the star field in my template so now its perfect. If anyone would like a crawl rendered for their edit, let me know.
I’m not a fan of the Fornite broadcast. But Movies Remastered placed it pretty effectively at the end when the Resistance listens to the radio. If I were going to add this to an edit (which I’m definitely not) I’d cut Palpatine’s lines down a bit and use some of the one’s idir picked but place the broadcast in the spot MR did.
Yes, if you listen closely, my version of the broadcast kinda adds more context to the events of the ST in general.
“At last the work of generations is complete. The great error is corrected.Skywalker is Dead. The Republic has been destroyed. The day of victory is at hand. The day of Revenge. The days of the Sith”
Wouldn’t this placement eliminate the briefing of the spy intel which is a needed scene to advise the Resistance they must find Exegol.
Can I get a link to your workprint? It sounds awesome!
Gave Ochi’s ship one last shot!
I moved Kylo over a bit, and I reversed the direction of the camera. This way, Kylo is moving out of frame and the focus is drawn towards the ship. I also adjusted the music timing to hit on the wipe.
Such amazing work.
Question: How was the fx processing so different for Kuruk #7? Was it submitted with some fx already applied. I do like the effect and maybe it would be good to make one of them sound more that way to help differentiate.
Hal 9000 said:
I think it looks pretty good. It’s about the first thing we see in the movie, anyway. Would just the shot of the TIEs in the forest be enough, though?
That TIE forest shot just feels comforting and nice. Like paintings with Star Wars stuff added. https://www.somethingawful.com/photoshop-phriday/star-wars-art/1/
The shot of the transports landing looks good. It does not look like jarring video game footage. Id just use it right after poppa’s ties with monit the other lava shots.
6 best by far
EDIT 1 or 5 runner up
1 runner up
5 runner up
8 best by far
1 or 4 runner up
Blind. I don’t want to know who is who.
I’m really excited to hear what people submitted!!! Thanks axlanian for doing this.
Workprint version B just uploaded.