macesmajored

LesPaul32 said:

https://youtu.be/54WFSXE1DyE

Here’s a pretty good resource of Oscar Isaac voiced Poe lines. Would any of these work?

Hal I’m sure you already listened through that whole mess of Disney Infinity Poe Dameron lines, but the shouted “Defensive formation!” at 11:08 and “The faster the better!” at 11:20 seemed like they could be maybes to my ear?

Tonality and vocal quality could easily cause it to not work like the TFA lines, I’m sure… But just a thought. Or just use some of that grunting improvisation at the beginning. Heh.

I think it really does work the way you laid it in with the new shot and doesn’t require full removal of Poe’s line, even if a suitable addition can’t be found.

This looks great! Whatever forum would look down on this is… not a good forum.

Hal 9000 said:

Also, who has a good pre-hyperspace jump sound for the ice wall moment? I haven’t found the right one yet.

There’s a smorgasbord of Falcon sounds in this Battlefront 2 cinematic at 2:26.

https://youtu.be/gRiGUcUQwEY?t=145

Not a lot of music to muddy it (other than the last second of the sub-light drive kicking in or so), maybe something there’s workable if layered with the rest of the sound in that moment? It’s tough to find isolated cockpit interior effects without a ton of the soundtrack mixed in. (Hopefully there are better options out there!)

Hal 9000 said:

I don’t mean to sound dismissive, but I don’t think that that awesome trailer music feels right in the context of the movie itself at all.

I see what the intention was with that edit, as that trailer music has great scale and scope to it, but something about it deeply clashes with the context for me.

Musically, I don’t think it works because it sounds so close to just being the opening fanfare re-orchestrated a bit. It almost gives me like an overly meta, diagetic feeling.

To be honest I don’t personally love it when that “fanfare” theme pops up for the civilian fleet’s arrival either, or when YODA’S leitmotif is slotted into Luke lifting the X-Wing. (These are smaller quibbles, and they seem pretty inextricable from the materials editors have to work with on this given the theatrical cut.) This mock-up with the trailer music, and those other two moments, really stand out to me as choices that are just out of character for what John Williams did with the musical language of the other 8 films. imho

Anyway, I’m off on a tangent now.
+1 for what you’re saying Hal, I like what’s currently in workprint 5 in that spot.

I believe the fault lies with Disney and the make-believe “Lucasfilm Story Group” that they created for not mapping the trilogy and their new expanded canon (at least roughly) as a whole, back in 2012 or 2013 during/after the LFL purchase. It’s primarily Disney’s fault that the new TRILOGY as a whole doesn’t function better.

I get a lot of enjoyment out of the sequel trilogy and Disney canon, but with A LOT of asterisks. IMHO, as messy as TROS is, some of it could have been mitigated in editing (which some fine folks are doing on this very site). The main problems with the core of TROS seem to be with Chris Terrio and J.J. retconning Last Jedi stuff and leaning on fan service as a whole, all the while likely not being able to utilize anything from Trevorrow’s drafts because they would run into Writer’s Guild problems with crediting the story, and as far as I can gather there are massive egos at play with Kathleen Kennedy and J.J… Too many cooks in the kitchen.

Trevorrow leaving the project (maybe fired by Kennedy?) made it pretty “scorched earth” for not using story beats he mapped out. Some of which were pretty great. The new statements from Daisy Ridley and John Boyega really confirm the weak, rushed, scatterbrained production of TROS as well. But all things considered (production time, Trevorrow leaving, and Carrie Fisher’s untimely demise) it really could’ve been A LOT worse. I think (some of) the angrier fans among us don’t really want to acknowledge the factors they were up against, even though J.J. and co. didn’t all rise (pun intended) to the occasion on this film.

Hal 9000 said:

CarterStarkiller said:

Hal 9000 said:

For anyone who would like it, here’s the ending scene with no added music. (The video track is compressed, but the audio is not.)
https://drive.google.com/file/d/1ol5gOj66ASm93SRLx7YrnGfgifSc0y_9/view?usp=sharing

Previously on /post/id/1371613 of this thread I found the end notes from the Star Wars Rebels epilogue can act as a bridge between the TFA cue and the TROS end credits to add more of the familiar jolt for those not quite satisfied with the current workprint audio. Using Hal’s shared “ending scene with no added music” and Final Cut Pro X, I added and synced the TROS end credits music with the clip, then I synced the end notes from Rebels, then I added the TFA cue. I don’t have the phenomenal TFA cue fade in from bbghost so I just did my own simple crossfade for this proof of concept. I’ve added the shared clip with my audio as well as a screenshot of what I did in FCPX to my google drive folder. https://drive.google.com/drive/folders/1dYFzUxQSHDRQq3m67gEhQJs8IRPJavl9?usp=sharing

Note: This isn’t meant to be used as final audio, this is only a concept/test. If someone with more audio editing wants to use my idea for their own edit/audio track go for it.

I don’t think it works to have that much added to the end, as I feel the transition from the final note of Rey’s theme into credits works just fine. However, I will play with adding a slight hint of it and see if that makes it better. Thanks for including the audio files you worked from!

Fiddling with a slight hint of it might be a good idea, imho- the only two notes that actually feel like a good blend/transition, for me, were the very first two notes of what was layered in for the mock-up (right in the spot Carter put it). It creates a better harmonic resolution when we’re hit with the first notes of the credits fanfare.

Brewzter said:

Has this been brought up?

https://vimeo.com/405275046

At 0:16 there is a cut extended shot of ships flying when Lando’s fleet arrives. So good! The place I just found it says it even has the Fireball (!!!) but I can’t find it. This shot in the movie is about 2 seconds long with a clip of Poe saying “Hit those underbelly cannons, every one we knock out is a world saved”. Given that the extended clip here is about 10 seconds long and the Poe clip is poorly/weirdly spliced into the shot in the original movie, I figure the audio of him saying it could just separated and then placed over the extended shot 😃

Wow! I was unaware of this shot. That lack of sound effects is a bummer, though. Really could help the visual tempo in that part of the climax, and lends a tiny bit more of a sense of geography to a battle that really has very few landmarks and internal consistency.

jonh said:

V2
https://drive.google.com/file/d/18a2L-J2DoSwCi7gJBnv3kTJe0YgQJHPy/view?usp=sharing

Can we fit an Anakin ghost in the shot? And a Yoda ghost? And a Qui-Gon ghost? A Han ghost too?

Kidding. I love this addition, and V2 is great as a final for me. Robe and hair don’t look any iffier than Leia to my eye, although there is maybe one moment of judder with Ben, from the match move tracking on the push in. Stunning work, jonh !!

I like that list of changes a lot! Have you done any re-rendering in regards to the (imho) muddiness and low-contrast look of the theatrical cut?

I truly can only stomach Solo edits when there have been multiple attempts to brighten, fix contrast and color. (I don’t mind dark and gritty like Rogue One’s aesthetic, just… this film took it too far.)

bbghost said:

I’m sorry to keep banging on this drum Hal, but the Duel of the Fates cue during the Death Star II fight still feels very tacked on and out of place to me. It doesn’t really seem to add anything to the scene, in fact the sedate nature of the cue kind of detracts from the tension overall, and from the following music that’s in the theatrical version.

Just like in ESB during Vader and Luke’s fight, much of which had score that went unused, it makes the appearance of the music when Kylo emerges from the waves all the more impactful and ratchets up the tension in the fight. A possible compromise could be to fade out the music after the crescendo where Rey does her backflip, so that the Final Saber Duel cue can have its entrance, but even then that crescendo in the DotF cue doesn’t match that moment particularly well.

I’m not sure what other people’s thoughts on this are but I’d be keen to hear them, apologies if I have missed a bunch of discussion on the topic already.

+1 (I know this has been discussed at length before, but I agree with most of the above)

I think the current work print is a massive improvement, but musically that section is just low energy, and the prominence of DotF in the current mix almost makes it sound like an afterthought or error.

bbghost, I think the main constraints were not wanting to lose the existing sound effects and environmental mix, and the overall length of the existing footage. I really, really want DotF to FIT properly in this scene, but other than Hal (or somebody else, he’s busy) mocking up some cuts of other options featuring the Episode I or III score, it seems to me the best option may be to remove it and go with something closer to theatrical version.

It’s definitely not bad in any sense, but that mix mellowness, especially in what I can detect as the mix’s center channel, just isn’t completely hitting it for me. (Again, I really really want it to work.)

Cinefy said:

I really hope Naboo/Theed shot doesn’t get cut.

I like the Naboo shot being in there for a more direct link to the PT, but agree with others that it kind of sticks out compared to the other (gorgeous) additional/altered shots throughout the film.

If the speed of the destroyer’s surface explosions weren’t a little off (they’re too fast, right? And we don’t know if there would be frame rate issues if the explosion elements are slowed down?) …I would say many folks with a bit more effects knowledge than me would possibly be able to fix it by adding in a few more layers of explosion and particle effects that are moving at a speed more consistent with the scale being depicted in the other “falling destroyer” shots.

I am a fan of the Theed shot too though, and would be sad to see it go!

I agree with Broom Kid. I imagined a slight rolling bulge (heh) or wave more than that much static or movement on the surface of the blade.

That being said, full re-renders are a pain, especially the type of deformation I was imagining. However I do still like what’s there in Kewlfish’s WIP clip, because the thing was ripped in half… so either way could make sense.

Anyone mind hitting me with a DM link to the latest workprint? I’ve been lurking on and off, and now I am at least a version behind (and curious to see the latest).

I would love a PM with a link to v4 (or whatever the latest version being talked about is), this sounds great!

I’d love a link, next time anyone on this thread is around!

-DELETED-

Thatstinkyguy said:

Hey CarstenJ.dk, would you mind sending me a copy of your fan edit? I PM-ed you the other day about it, but I didn’t get a reply.

Same boat over here, if anyone receiving notifications on this thread still has an active link, I’d be super stoked to receive a PM, as well as to the above user!

Looking for a copy of this edit, if anyone here still has it and cares to PM me! Thanks!

I have this edit, feel free to PM me if anyone’s still searching for it!