pleasehello

RU.08 said:

I did re-scan it, that reel has a printing error. If the original scan had been done the way that I’d asked I would have been able to see this (it was pre-cropped almost right to the frame line and resized to UHD), you can try stabilising either scan.

Oh!! I didn’t realize it was a printing error. That sucks. If you want to send me the UHD for reel 4, I have an idea to try and stabilize it. Might not work, but worth a shot.

RU.08 said:

Someone needs to stabilise reel 4 of BATB. Anyone is welcome to give it a shot.

I thought you’d had BATB rescanned because of the wobble on reel 4:
https://originaltrilogy.com/post/id/1292184/action/topic#1292184

I understand the notion of wanting to see the movie as it looked on film, but keep in mind that Spirited Away was shot digitally. I think it was the first Ghibli film to do so. So as far as intended experience, the commercial blu ray probably comes pretty close. Color timing is handled respectfully. There’s no film grain that’s being managed or suppressed, so the only detail that could potentially be lost is in compression. The commercial blu ray looks really fantastic imo, so even as an avid fan of film prints, I don’t feel as though I’m really missing out. Ghibli treats it film catalog really well when it comes to home video release. Not at all like Disney’s revisionist methods.

What part of this is in 4k? I thought the only commercially available blu ray was 1080p. And the only version of the Italian print I’ve seen is a low bitrate 720p encode.

CatBus said:

Sorry, on the Internet, I don’t know how old people are, so I didn’t want to spell it out. I’d have started off by saying, “Well, when a man and a woman love each other very much…”

I haven’t been a child for a long time, but damned if I don’t feel like one right now, haha.

CatBus said:

pleasehello said:

Are you talking about the last line where he says “I haven’t got time for anything else”?

How is that innuendo?

Seriously? If you’ve gone this long without figuring that one out, I’m not going to be the one to spoil the scene for you. You just go ahead and enjoy the movies your own way.

“Captain, being held by you isn’t quite enough to get me excited.” That’s innuendo.

When someone’s grabbing you in a sexually suggestive manner, I wouldn’t call simply pointing that out and implying it’s very much unwanted “innuendo”.

I just had the epiphany. Han’s kind of a dirtbag.

I’m still of the mind that Liea’s line is intended as innuendo, but yeah Han definitely doubles down on it.

CatBus said:

pleasehello said:

CatBus said:

pleasehello said:

CatBus said:

ray_afraid said:

You mean after he catches her from falling & is clearly trying to listen for something? Yeah. Ok.

Yep, that’s right when she tells him to let go and he doesn’t. She immediately repeats the demand and eventually convinces him to let her go, since his excuse of “I’m only continuing to grab you because I’m unable to hear anything without my grabbers extended” doesn’t seem to be resonating. Then after he makes a sexual innuendo and leaves the room, she punches the wall. That’s the scene, you’ve got it.

He makes the sexual innuendo? It seems more to me that she makes the sexual innuendo.

She tells him his attentions are unwanted and unreciprocated, which draws attention to the existing sexual element of his persistent grabbing.

He responds by going full innuendo.

Here’s the line:

• Let go, please.

• Don’t get excited.

• Captain, being held by you isn’t quite enough to get me excited.

So tell me again who goes “full inuendo”

Seriously? You intentionally leave out the line where Han goes full innuendo and ask me to point at it? That’s preposterous.

Captain, being held by you isn’t quite enough to get me excited. - I described this as “She tells him his attentions are unwanted and unreciprocated, which draws attention to the existing sexual element of his persistent grabbing.” And that’s what it is.

Are you talking about the last line where he says “I haven’t got time for anything else”?

How is that innuendo?

“Captain, being held by you isn’t quite enough to get me excited.” That’s innuendo.

CatBus said:

pleasehello said:

CatBus said:

ray_afraid said:

You mean after he catches her from falling & is clearly trying to listen for something? Yeah. Ok.

Yep, that’s right when she tells him to let go and he doesn’t. She immediately repeats the demand and eventually convinces him to let her go, since his excuse of “I’m only continuing to grab you because I’m unable to hear anything without my grabbers extended” doesn’t seem to be resonating. Then after he makes a sexual innuendo and leaves the room, she punches the wall. That’s the scene, you’ve got it.

He makes the sexual innuendo? It seems more to me that she makes the sexual innuendo.

She tells him his attentions are unwanted and unreciprocated, which draws attention to the existing sexual element of his persistent grabbing.

He responds by going full innuendo.

Here’s the line:

• Let go, please.

• Don’t get excited.

• Captain, being held by you isn’t quite enough to get me excited.

So who goes “full innuendo”?

CatBus said:

ray_afraid said:

You mean after he catches her from falling & is clearly trying to listen for something? Yeah. Ok.

Yep, that’s right when she tells him to let go and he doesn’t. She immediately repeats the demand and eventually convinces him to let her go, since his excuse of “I’m only continuing to grab you because I’m unable to hear anything without my grabbers extended” doesn’t seem to be resonating. Then after he makes a sexual innuendo and leaves the room, she punches the wall. That’s the scene, you’ve got it.

He makes the sexual innuendo? It seems more to me that she makes the sexual innuendo.

I sometimes do lament that Leia doesn’t have more agency in these films (ROTJ) especially, and then I’m reminded of the extended version of Han and Leia’s kiss.

https://www.youtube.com/watch?v=MtYo1mhXqjM

I understand why they cut it, but it still might have been nice to keep.

Yes, by modern film standards the kiss is problematic I guess. Of course that kind of behavior doesn’t fly in real life, but in the context of a fantasy film made 40 years ago, it’s fine. We know that Leia has feeling for Han and that she’s simply protesting too much, because she’s a princess and a politician or whatever. How do we know this? Because it’s opera and these are our two romantic leads and the score starts swelling as Han leans in for the kiss.

ESB is I think the most operatic of the OT and that’s what makes it great. It’s all personal drama and romance and mysticism and music. It’s not about space battles or politics half so much as the other films. That’s just the window dressing. And like all great serious opera, it ends tragically.

I really do like music leading into the ending credits the way Hal has it configured currently. Though the transition between the Rey theme and the credits wipe still seemed a bit off,like there was some undesirable audio bleed on the crossfade. I made an attempt to create a cleaner transition: https://drive.google.com/file/d/1-r_k2ogPR2IFIih-e2dLQYCsL5gI9Igb/view?usp=sharing

EDIT: Link is now accessible

DZ-330 said:

https://vimeo.com/425012849

I will still fight for this transition. In my opinion it just flows into the credits SO much better. And I love the end theme starting with the Skywalker theme, then Rey, then the Star Wars theme. Plus how it hits that long note how the Falcon flies away. I think it would be a shame not to have that 🤷‍♂️

Which track from which film has the Rey theme that you and Hal are using going into the credits?

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.

It doesn’t work musically. Harmonically, that Rebels transition is I think a D-Major 7 chord with a leading A, being forced over the Rey theme which is an Ab-Major chord. This not only creates an extremely harsh dissonance between those two A and Ab semi-tones, but the root of each of these chords is a tri-tone apart which is usually avoided when creating tonal music. Musically speaking, it’s not a good fit.

jonh said:

https://drive.google.com/file/d/13qxccXMr962BoO9jM1IU8uVzAha3vhCL/view?usp=sharing

This is just about perfect! My one nitpick would be that the blue halo around Ben’s head is a little strong compared to Luke and Leia.

That said, if it never gets better than this it’s still more than good enough. It’s seamless 😃

moripro2311 said:

Has anyone thought of using this as the ending of the movie? The music and everything make it more powerful than the original one.
https://youtu.be/XaAXOCa15uE
Maybe it can be used for the Rey Nobody cut?

We can call it The Incredible Hulk cut.
https://youtu.be/33izVlIOgnQ

I think the new Ochi’s ship shot is technically perfect. I don’t know that it improves the movie, but it fits in seamlessly with the surrounding footage.

Octorox said:

StarkillerAG said:

I disagree. I think the Battlefront trailer footage and the lava river are too obviously computer animated<

Compared to pretty much every shot of the clones in Attack of the Clones I think it looks far better. I mean, it does look like CGI, but many shots in these films are mostly or entirely CGI. I just don’t think it looks noticeably worse than other effects shots in the film. Maybe if they were actually shooting it for the film they would have used actors in suits but unfortunately we don’t live in that universe.

I honestly didn’t know the troop transport stuff was video game footage until you guys mentioned it. I thought it blended seamlessly. I agree that the overhead lava shot looks a bit off and the volcano through the trees is clearly shot in documentary style and definitely out of place.

Hal 9000 said:

Awesome! Makes me feel like I’m publishing a 70’s grindhouse flick. 😃

Here’s poppasketti’s visual and my audio for Ochi’s ship leaving. Be honest, does this feel legit?
https://vimeo.com/431955828

Ditto what everyone else said. Also the musical timing feels off. The big orchestral swell should happen right before the wipe. As it is, the silence as the ship jumps away feels awkward.

jonh said:

poppasketti said:

jonh, are you suggesting we reshoot the reshoots?!

🤣🤣🤣

when luke first appears he has good hair, but in the following shots, he suddenly looks like manson

Marilyn or Charles? 😛

I noticed the reshoot wig immediately when I first saw the movie. With a $200 million budget, you’d think they could afford a decent wig.

Hal 9000 said:

God, this fucking movie.

I can’t imagine having this reaction to what is the cinematic equivalent of vanilla ice-cream.

Has anyone given any thought to somehow delaying the revelation that Chewie is alive after the transport explosion? I don’t know how feasible it would be, but I think the theatrical edit handled it pretty poorly by revealing almost immediately that Chewie is alive, undercutting what was a pretty emotional scene.

Hey Dom. I really like some of your edit ideas, especially re-inserting “The Speeder Chase” into the movie. I just got my blu-ray copy in the mail a few days ago and decided to give that idea a go myself. Unfortunately the music appears to be mixed into every single audio channel, so isolating sound effects and dialogue is proving almost impossible.

The only real solution I can think of is to fade all the dialogue in and out (hoping there aren’t any musical intrusions) and then rebuild the effects tracks from the ground up using custom sound effects, which is a bit beyond my capacity. Do you have any alternative ideas?

RogueLeader said:

I don’t think it is a stretch for people to believe a temperate moon like Endor has grasslands across the coastlines. Naboo has swamps and pastures, it isn’t a completely homogenous climate. I also figured most people assumed that as soon as we saw the Death Star wreckage in the trailer, that it was Endor. I think having a transition shot like that is enough to show the audience that it’s Endor.

The cinematic masterpiece that is Caravan of Courage: An Ewok Adventure didn’t think it was too much of a stretch.

NFBisms said:

I would keep Rey Nobody but somehow maintain the integrity of “Sheev f**ks.” But that’s just me.

+1