poppasketti

EddieDean said:

That’s the one! That little hint of orange in the forest shot really does it, I think.

Totally! It caught my eye immediately, and really sells the transition towards new terrain for me. Beautifully done, Nev!

(just a note I sent over a new pass of the ties to Nev, since the Biomes in/out has shifted, the ties needed to be adjusted accordingly, so that should be in the final)

NeverarGreat said:

I could give it a final color pass if this sequence is locked, try to unify it.

If you have time, Nev I think that would be hugely helpful! It might even help to start from scratch with the color of the tie flyover, which you can find here without the grade. There’s two versions of the flyover, and I’m not sure which one was used, but you should be able to frame match them easily.

Dat,

I wouldn’t say you’re wrong about anything in particular!

The shutter speed on the ties is coming from the blur added in AE with the Pixel Motion Blur effect. It’s currently set to 180 degrees, which is the typical shutter speed for most films. If it’s feeling too smooth, it can be dialed down a bit, maybe going with 135 or even 90 degrees. I’ve posted the project files for those who’d like to play with it. I would say I think the biomes shot is probably 180 as well, but everything looks so sharp because there’s not much depth (it’s all so far away), while the ties fly right by the camera.

The focal length is a bit harder to nail down, but was efforting for something around the 35mm range (seems safest without knowing what the shot actually is). I should mention that the biomes shot is motion tracked in AE so the ties are tracking along with the 3D camera (so even if the ties were just hovering they would still move along the shot).

The shot at the end of the film has had some debate between Option A (shorter focal length) and Option E (longer). I honestly think the focal length should be even longer considering the size of the sun, but it started to feel off with the Falcon getting any bigger.
[Edit: the engine glow would be an easy adjustment, I just don’t know when I’d have a chance to go into the project. You could also isolate that hue with a secondary and tweak it.]

The second ties shot has always been a bit of problem for me, but mostly because of the compression artifacts and over-sharpness. It came from a Nat Geo source I believe (which someone posted here probably a year ago!). It may help to add some lava or tweak the trees, and you can find the prores renders (with and without color correction) in my Master Clips folder!

Yeah I think let’s see how the sequencing feels after Hal plays with it!

Looking at the shot a few more times, it makes sense to me that the ties would be going towards that brighter lit forest area behind the castle, which is where Kylo is

But if feels wrong in sequence we can look at it again down the road.

Movies Remastered said:

@poppa, just had a thought. Cant you just use the same flight path in reverse and flip the models 180?

That could work, though it’s not exactly that simple in C4D unfortunately! Might be weird if the shot isn’t reversed, though, which I don’t think you can do because of the smoke.

Also, shouldn’t the ties be flying towards the forest Nev added?

Edit: Yeah Hal! Would love to see how it feels when the audio is mixed and go from there.

Movies Remastered said:

I feel it felt more natural having the TIEs coming from space and flying towards the camera, no? i.e. coming in from high to low then cut to flyover.

Poppa! That’s NUTS! Incredible work, dude.

Yeah perhaps! I think the way the camera is moving dictated to me how the ties should fly, so that’s what I went with, but you’re right it’s three shots in a row like that!

I feel like some sequences in the prequels of ships flying had similar perspectives back to back (I guess they figured since the backgrounds change so much it won’t feel like a jump cut). Dooku’s meetup with Sidious at the end of AOTC comes to mind, not that the prequels should be any reference point for good composition and sequencing!

Unfortunately, creating a new flight path in C4D is kind of like starting from scratch (that alone took a couple hours). So at least for now, this is what we have to work with.

I made the Vimeo downloadable, and if you select “original” under download that will be the prores render straight from After Effects!

Thanks everyone!

Hey everyone,

Well, I managed to find some time last night to at least get a first pass out!

https://vimeo.com/640958502
pw: fanedit

I sent over the project files to Nev (including C4D files and models) so he can integrate any color correction or other tweaks he’d like to make.

Anakin Starkiller said:

Can I see it?

Anybody?

Edit: Ha! Hal beat me to it. Glad we’re on the same page.

Hey everyone,

Sorry I haven’t been able to contribute any FX work in a while. Parenthood has really take over any free time I had before (don’t how Hal and other faneditors do it, but I definitely have a new appreciation!).

It would unfortunately likely be a while before I could take a stab at those ties I think.

For the other shot, they were all added using Cinema4D lite which integrates with After Effects. Essentially animate the models and their flight paths in C4D, and then motion track the camera of Nev’s footage in AE. Use that camera and make adjustments to the ties as needed.

Lighting actually wouldn’t be too bad I think because in this shot they’d be almost completely silhouettes.

Titanic was just recently added to Netflix. You know… just… think about it 👀

At the very least his duet with Joey Fatone.

Hey MR,

So sorry again to hear about all of your troubles.

The saber effect is free to download and install, no subscriptions or anyhing needed from video-copilot.

I can walk you through reconnecting media in AE if you like. PM me in our thread!

sherlockpotter said:

poppasketti said:

sherlockpotter said:

Original ending for comparison: https://streamable.com/15r2vd

Potential new version: https://streamable.com/asygmi

I mainly tried to smooth over the pickup note between Rey’s Theme and the End Credit fanfare. Oh, and shoutout to bbghost for helping me find the correct music clips!

BOOOOO. Booooo. 😂 (it’s been a while was that in the original soundtrack?)

I do think this transition is a bit cleaner. Has a nice punch on that first note of the credits. Good work!

Edit: after listening a few times I think what I like about the new version isn’t so much the punch of the first note of the credits but the last swell of violins from Rey’s theme. It feels a little longer and rises to a bigger crescendo, which I think is appropriate for the last note of the Star Wars saga.

I think poppa is referring to the booing of the screenwriters, Hal.

Right you are!! I do think I remember hearing that when I saw it in theater the first time 😆.

I think it does sound well balanced! Maybe the first note of the credits is very very slightly too loud? Hal would need to mix it in with the sound fx anyway.

sherlockpotter said:

Original ending for comparison: https://streamable.com/15r2vd

Potential new version: https://streamable.com/asygmi

I mainly tried to smooth over the pickup note between Rey’s Theme and the End Credit fanfare. Oh, and shoutout to bbghost for helping me find the correct music clips!

BOOOOO. Booooo. 😂 (it’s been a while was that in the original soundtrack?)

I do think this transition is a bit cleaner. Has a nice punch on that first note of the credits. Good work!

Edit: after listening a few times I think what I like about the new version isn’t so much the punch of the first note of the credits but the last swell of violins from Rey’s theme. It feels a little longer and rises to a bigger crescendo, which I think is appropriate for the last note of the Star Wars saga.

I’m never totally sure (this being the internet), but based on jarbear’s previous comments and on his general personality, I’m pretty sure he was being sarcastic!

PM sent!

PM sent!

PM sent!

“Beefy PWOMP” must be in the subtitle tracks. Non-negotiable.

sade1212 said:

I like mirroring the Leia convo, but in the last close-up of Rey you can definitely tell that Daisy Ridley’s facial scar is on the wrong side if you’re aware it exists. Not that anyone would be looking for that sort of thing in a real viewing, though, of course. Could probably fix it with EBSynth.

Maybe I’m wrong, but isn’t the most conspicuous part the arm band Rey wears being on the wrong side? I’m not sure if she ever switches it but for telling whether something’s flipped I thought that might be an issue. It’s kind of like having Chewie’s belt going the wrong way?!

PM sent!

Thank you!!! Quite something these younglings.

Lightsideuser, pm sent!

Yep! About three and a half months ago!

Atom,

That is extremely kind of you on all fronts! I appreciate the feedback and am so glad you and others have enjoyed this edit. It wouldn’t have been possible without Hal’s Legendary edit and many many other contributors.

The feedback from the members of this forum is top-notch— critical and respectful— and their attention to detail is next-level. This project started as one or two little changes, and kept growing from there until all of a sudden a year goes by!

And thank you for the congrats! It’s been the most exhausting and amazing experience becoming a dad. Can’t really put it into words (probably too tired 😆), but we appreciate the well wishes!

Take care,

poppasketti

Ay, so sorry to hear that, bud. That’s brutal.