krausfadr

PM sent

deleted…

44rh1n, also of note regarding importing HEVC rips into resolve:
when I imported a “23.976” FPS 4k mp4 rewrapped from an mkv rip, resolve had severe sporadic framerate problems with the import itself, even with the “correct” master settings for timeline and playback (23.976). original 4K UHD disc framerate was actually variable unfortunately. some frames in the resolve import were duplicated resulting in occasional stuttered, laggy video (in timeline and in the final export), which I didn’t realize until far into the editing project when I stumbled across a duplicated frame. as a test, reimported a new project in resolve at 24 FPS in master settings (timeline and playback) with the same bad result. so then I imported the same mp4 into premiere and every frame was perfect (albeit no real HDR support). ultimately I had to use hybrid to create a prores which resolve imported perfectly with no frame issues. resolve is a great program but very buggy when it comes to certain things premiere handles with ease. using hybrid before the import to resolve is a reliable way to avoid possible issues.

EDIT: note in my original editing project I used cineform mov files exported from resolve. I don’t edit directly in HEVC or H264.

Thanks CourtlyHades296. The standards there are very high and my standards for this edit at the time were let’s say “medium”. So in its current state it’s not quite ready. I’m not super interested in revisiting my old edits. But I’ve learned quite a lot now and my standards going forward are near perfection from an audio standpoint. Meaning especially paying attention to the music score during cuts so that they are always on tempo and artisticly pleasing. Before I would cut anywhere and just crossfade it so it wasn’t too noticeable on a casual viewing. Now I’m working on a Man of Steel edit in 4K called Son of Krypton which will go through the Fanedit.org vetting process.

londo mollari said:

Wow, list of changes looks awesome, especially death of Rey’s parents. Would I be able to get a copy?
…
I’m sorry I saw this one before and like an idiot I forget about it and asked again… It was one of the best ROTS fanedits. Every time I saw ROTS fanedit with changes similar to this I’m just curious and that was the reason for my repetition. You can delete this post. And thank You again for Your wonderful work.

Yeah of course. Thanks for watching.

Test for new musical score of Superman’s flight (not color graded):
https://vimeo.com/527331747

44rh1n said:

7). Click Analyze All. (And leave Enable Tone Mapping Preview selected). Once it’s done, you’ll notice that the image no longer looks flat and ugly because you’re now seeing the SDR version created by the Dolby Vision analysis.

One extra step should be performed: if the video image itself includes the cropping black bars then these will need to be excluded from the output, otherwise the black in every scene will skew the analysis. This can be done by selecting Timeline > output blanking. Or otherwise manually cropping the top and bottom.

CourtlyHades296 said:

This edit looks great on my 1080p projection setup. I especially loved the removal of Rey Palpatine, and the force ghost scene.

Thanks glad you enjoyed! And thank the force for jonh

To inquire about this edit, email krausfadr at gmail dot com and include the word fanedit in the subject line.

Intent:

The fanedit, Man of Tomorrow (MOT) by JobWillins is a prime example showing the impact that extensive artistic restructuring and rescoring can have on film. This edit, Son of Krypton (SOK), would not have been possible without the prior contributions of other fan editors, especially JobWillins.

I was just going to release a MOS FanFix. But after watching MOT a few times, I grew stronger of the opinion that the true fix was combining it with BVS.

In my opinion, the character of Lex Luthor in BVS was poorly written, too comical with a musical score to match his overly quirky personality. In this edit, BVS and Lex are more serious and refined to the central elements.

For me the heart of MOS lies in two major storylines which are restored in SOK:
Superman saves his mother from Zod.
He also helps the military even though they try to kill him, gaining their respect.
This required reinstating the Battle of Smallville, though it is toned down significantly.
Change List:

Major changes to MOS:

1. Color correction to reduce the very slight unnatural green tone throughout and make Superman’s suit more vibrant in outdoor daylight.
2. Reduced Krypton scenes to under 5 minutes, Zod doesn’t directly murder Jor-El. Scenes rearranged and rescored for a very different experience.
3. Changes to musical score including updated music for Superman’s first flight, keeping modern-ness of Zimmer with more themes of Williams.
4. Clark joins the Daily Planet earlier.
5. While Superman is in custody at the military base, Zod arrives in Kansas, lands the World Engine (but does not start terraforming). Scenes rearranged and rescored for a very different experience.
6. Superman is released from custody and flies home to find Zod threatening his mother. He does not visit Zod in space.
7. Toned down the destruction and boss battles at Smallville and Metropolis.
8. Lois is not involved whatsoever in fighting the Kryptonians, she’s not on the military bomber with the phantom drive.
9. Zod gives shorter speeches.

Major changes to BVS:

1. Color regrade to match the natural color of MOS 4K, eliminating the gritty green tones throughout. The 4K release of MOS has a more natural grading than the Blu-Ray.
2. Most of the storyline is cut (Africa, Hearings, Clark living with Lois, etc.)
3. Updated musical score in some scenes. The new arrangement and score, particularly in the scene with Lex removing Zod’s fingerprints creates a different mood and experience.
4. Lex’s weird mannerisms and outbursts are reduced, and his backstory is removed.
5. Tightened up most of the BVS scenes used.
6. Lex does not kidnap Lois or push her from a rooftop to lure Superman. Instead, Superman hears Lex calling his name with his super hearing.
7. When Clark is in his reporter persona he is less judgmental and condescending.

Major differences from MOT (in addition to the above):

1. Kept more storyline from MOS.
2. Cut more storyline from BVS, significantly toned down Lex.
3. The Krypton scenes are reduced but retained in the beginning and are not presented in a flashback.
4. Krypton scenes that resembled Star Wars removed.
5. Clark becomes Superman before Zod’s broadcast (same as MOS).
6. Bruce Wayne watches Zod’s broadcast.
7. Used the snow/dad scene from BVS (with Jor-El’s voice added) as the transition scene between Lois’ arrest and Superman surrendering.
8. Reinstated the battle of Smallville.
9. Different scene structure and arrangements (note some structure was borrowed from JobWillins, see below).
10. Video in 4K and audio in surround 5.1.

Ideas from other individuals which are used or completely copied in SOK:
(while different editors separately will make similar editing choices, I did not come up or would not have come up with parts of SOK and due credit is given below).

Avid 4D:
Zod’s voice matches the staticky sound of the rest of his broadcast.

TM2YC:

1. Changed Audioslave music from scene with Clark “borrowing” clothes.
2. In the holding room Lois laughs at Superman’s joke instead of laughing at him.
3. Zod isn’t as mean to hologram Jor-El.

JobWillins:

1. Zod dies on impact to the ground, no heat vision neck snap. Edited this scene virtually the same way as Man of Tomorrow. Added a different music cue when Zod dies. Retained more foley.
2. Recut scenes just before and after Zod is killed to show Bruce Wayne helping the little girl then brooding in the Batcave. Edited these scenes virtually the same way as Man of Tomorrow using “Beautiful Lie” from BVS soundtrack. Added foley.
3. Used tornado flashback scenes when Superman fights Doomsday. Edited the scenes and music virtually the same way as Man of Tomorrow. Added foley.
4. Recreated the same scenes after Superman’s death as Man of Tomorrow, including music.

Joseph Bennie and IronPixelChef:
Created music that I used to mix together for Superman’s departure from the Scout ship and his first flight.

https://forums.fanedit.org/threads/the-dark-knight-redemption.21457/

CMMAP, so well I loaded the movie the Dark Knight and started tinkering.

Guess I’ll start a new thread for it. : )

44rh1n thanks, very good advice. I’ll plan on keeping the source in HDR then.

44rh1n thank you for the tutorial about the Dolby Vision trim analysis. I’ve just begun using Resolve, and your helpful tips are much appreciated. This analysis also seems to be exactly what winoni71 was looking for as well. I will certainly be trying this on an upcoming edit. And based on your comment: “Once it’s done, you’ll notice that the image no longer looks flat and ugly because you’re now seeing the SDR version created by the Dolby Vision analysis.” it looks like I can further color grade after the analysis and before the rendering. Sweet!

EDIT: or perhaps a best practice for users of Resolve would be be to import the file container with HEVC HDR into Premiere, apply the Dolby vision, and export that to a DNxHD or DNxHR to be used as the new source to edit?

CMMAP thank you for watching the edit [AGAIN] and taking notes! I will take a break from the Dark Knight series with no definitive plans to continue onto the Dark Knight yet. For two reasons…

One, the changes I want to make which would make it worth it to me require VFX beyond my skill level. The desired changes for The Dark Knight would include the civilian hostages exploding (I would have them push the detonator button to kill the prisoners on the other ferry, but guess what the jokes on them and it explodes their own ferry instead) and also changing the look of the new skinny Batsuit to something better.

Two, I would like have an edit published on Fanedit.org, so I will make my next effort on something without much VFX where I can focus much more on the sound engineering and cuts to the score being absolutely clean. My next effort will also be done in Resolve, so I’m learning the basic functionality of that program now. It’s really amazing with its color capabilities.

DominicCobb said:

Watching that video you can definitely tell that Williams hated the idea but hey the music editor had a gun to his head, what can you do.

Vader also really hated those force chokes, it was the emperor’s dumb idea.

V2.1 released - color correction added to fix washed out HDR > SDR conversion.

A NLE is a non-linear editor, such as Adobe Premiere.

The easiest and fast way would be to do what you did again just choosing a LUT you like better.

Below is a decent and fast option to apply HDR > SDR color correction to the entire video:

In Premiere put three adjustment layers above your video:

Top layer - add a LUT which improves the picture, such as SL GOLD RUSH (or the LUT you already tried), and reduce intensity, perhaps 50%.
Mid layer - add the SDR conform effect here and adjust the brightness and contrast appropriately. Leave soft knee typically at 100%.
Lower Layer - add saturation here of perhaps 115-120% if the colors are washed out.

If you like the SDR conform effect by itself just use it alone.

winoni71 said:

Hello,
I am trying to convert a bunch of HDR movies into SDR using “TMPGEnc Video Mastering Works 7” which allows the use of LUT files and I was wondering if there’s someone here willing to help me out.

I have successfully imported the “Rec2020ToRec709_CSTDefault” LUT file, which I suppose is the one to use, and the results are good, but I’d like to make them better, but I’m not sure how.

Thank you.

The conversion LUTS (HDR > SDR) generally are fixing the overall overexposed and washed out look you would get without correction. The issue is that one LUT will not adequately correct every scene in a film. Each scene has different light and color, so to achieve good results you would have to color correct scene by scene, ideally using an NLE.

Adobe Premiere has a built in “SDR conform” tool, and while you can apply it to the entire video, you can also create an adjustment layer and tweak the SDR conform settings scene by scene.

CMMAP said:

Krausfadr, you´ve totally nailed it now for the continuity regarding batmans voice! Just awesome. From my end i´ve nothing further and deem it perfect.

Thanks!

sherlockpotter said:

Whoops, sorry. Sent the line to Hal in a PM at first. Here’s the link: https://drive.google.com/file/d/1jOfypfXSDVkf7Z0p2xVB2ktg0RfwdxRW/view?usp=sharing

So, the extra layer was kind of weird. One of the problems I noticed was that there was a harsh cutoff between “become” and “A DYad”. I tried just lowering the volume of “A DY” a bit, but it still sounded uneasy to me. So I isolated the “mm” sound from “become” and layered it in a bit sooner. Then I blended it in with the “A” sound more. The end result (hopefully) was that it would go phonetically from “become. a Dyad.” to “become [ma] Dyad.”

Rather odd all around. I’m glad that it seems to have worked!

Thank you.

Here’s how you can quickly make an LFE channel:

1. copy the main tracks which contain some bass, for example the music tracks (or even all the tracks together if needed) into a new mono track
2. run a lowpass filter at 60hz
3. mix the volume level so it is at a reasonable volume and comparable to the LFE track in other scenes around it
4. this is your LFE track, it’s literally just rumbling bass!

The reason I asked is because I heard about this tool which is supposed to work wonders for converting from 2.0 to 5.1: https://nugenaudio.com/haloupmix/
and was wondering if anyone here had tried it or something similar.

Sounds like you are a wizard if you did this manually in Audition!

I’ve used Hybrid, and its an excellent program, but I prefer dmMediaConverter and Staxrip for ease of use. As for converting a blu-ray rip to Prores, I just use makemkv, switch the mkv container to mp4 using dmMediaConverter WITHOUT ANY RE-ENCODING, and export to Prores using Premiere.

The 4k is now available. 12.2GB.

If you use Staxrip and want proper de-banding, you have to use the VS filters under the restoration category:
Restoration > RCR > Colorbanding > f3kdb

CMMAP said:

Thanks for letting me know. Handbrake is no stranger to me, but didn´t know that either. But haven´t used it since i realized that it only has the 8-bit pipeline.
Didn´t expect it to have just 12 GB but nice 😃

That’s why I stopped using Handbrake, because it reverts to 8bit during processing. The final filesize can vary wildly with crf since its all about content. So for example, on one 2 hour film 4K crf 20 could result in 20GB and in another film-- half that.