Please tell me that the description is a Nacho Libre reference.
I gotta say, green and yellow are my preferred lightsaber colours, blue is just too vanilla for me.
However, the idea of all Jedi having the same blade colour is growing on me. It makes little sense to me for a religious organization based upon ideas of stoicism, asceticism, and the wickedness of humanity and individualism to have something of such iconographic value be so easily made different to an individual’s taste.
Then again, the same could be said for hairstyle, clothing, and hilt shape.
There are very few cases in Anjo’s edits. I can only remember there being one sex scene in this, not sure of nudity.
A) It doesn’t fit with the surrounding film
B) The effects are poor
C) The sound effects have no OOMPH
D) The choreography is both non-functional and incongruent with ANH, the Prequels, and the characters portrayed.
Not that I could do a better job, but it’s not very impressive.
Pederasty and scatological humour are right up my alley… Wait.
That bunker scene was tremendous, good work.
I find the issue not to be the video, but instead, the audio that lets it down. Though, I ain’t too keen on the video quality either.
An idea for Batman, white lenses
A thought I had for Anakin’s voice would be for it to have a similar accent to JEJ’s. I really like Jones’ thespian way of speaking, his accent is American but also has a regal and educated aspect to it - not saying anything about American Accents.
Having rolled Rs and extra oration skills would, I think, make the character fit better with the OT character we all know and love.
Italiano. I’m using it for my edit, but, unlike something like the Japanese dub, the Italian dub isn’t just understandable to people who know that language. Italian is so similar to other “Romance” languages that the Spanish, Portuguese, Latin-Americans, and others can understand enough of the original dialogue for it to be a little hard to enjoy.
I grew up watching things like Batman Returns and Revenge of the Sith since before I could remember. I don’t think the stuff in TFA is enough to traumatize him, but I suppose it would still be good to be very sure as you’re watching the film that he’s okay with what’s shown.
My two cents.
Recently I returned some of my attention to the edit I started all the way back in October.
Damn, I’m productive.
Mild grain and sharpening added, new colour grade, flashes added to lightsaber cuts and ignitions, among other things.
PS: Please ignore misspelling of the word “Stir”
Neither quite work for me in their current states. I’m not entirely keen on them.
Not sure how the first would be made to work, what with there being no background that would fit the spatial continuity of that scene. The second one I doubt could work simply due to the footage available.
Alas, toying around doesn’t always yield perfect clips, especially when unfinished of course.
PS, really tried to word this well. Nearly pulled a Starkiller 😛
The sound redesign was impressive, but man Williams really saves that fight. Without music, it helped me notice just how bad the choreography of the whole fight is. The fight in Empire is so good they didn’t even use music for most of it. I’m mad.
The AotC and RotS fights are probably the worst because they oscillate from moves that feel functional and historically inspired to move that would fit in Final Fantasy.
Without the music to deal with, I think that making the fight functional is finally a possibility.
I dig it. Though, the colour correction and mixing need some work for sure.
Memory, Alien edit
Hey, just click on JJPoter’s name. This’ll take you to his profile, you’ll see ‘Start a Private Topic’
COMPLETE, FUTURE REVISIONS POSSIBLE
Sourcing the Theatrical and Director cuts of the horror classic, I’d planned to improve the film by removing the worst cases of ADR and the worst visual effects, and also by cutting unnecessary shots, whilst keeping the feel of the film consistent with the original.
Another plan was to slightly change the relationship between Ripley and Dallas. In the film, to me, they come off as an obvious ‘item,’ but it is vague enough for many to feel differently. By making the hints more pronounced, and adding one or two more, I hope to make the relationship more obvious.
Along with these changes, I’ve also made mild changes to the score of the film. Using the rejected score and the score of Alien3. I’ve re-scored the cocoon sequence, as well as the Acid scene. I also reinserted part of the “A New Face” track to the face hugger scene and used the last few seconds of said track as a motif for other parts of the film.
SOURCES: ALIEN (1979), ALIEN DIRECTOR’S CUT (2003), ALIEN3 SOUNDTRACK (1992), ALIEN SOUNDTRACK (1979)
RUN TIME: 1 hour 48 minutes
Theatrical/DC RUN TIME: 1 hour 57 minutes
Footage Cut: 15 minutes
Footage Added: 6 minutes
I’d recommend the Blackened Mantle.
Solution: Make Tatooine a superweapon.
It’s so bad it just might work!
I could only picture Dana Carvey when I read that.
Darth Batman said:
Have you started editing SM2 and SM3 yet?
Actually, I’ve not touched anything Spider-Man since I finished this edit.
However, I’m considering making an improved version of this edit. If I do so, I would likely follow up with 2 and 3.
It’s done just message me for link & consider this my last & final take on BF just until the official Director’s Cut gets green lited & released then i’ll come back & re-do everything with the new footage.
I watched it and loved it! One of the best fan edits I’ve seen in general! But why is the audio so bad?
The isolation of dialogue is a process which can vary wildly in the quality of the outcome.
Darth Batman said:
Peter is no longer grenaded
If you remove Spidey getting a grenade to the face, then why would his mask be ripped during the fight?
He was thrown through a thick brick wall. I thought that was a sufficient explanation.
The concept is one that humans have always struggled with. The struggle to shake any thought that it exists. The struggle to forget our built-in idea that our lives and the many moments in them will last. As our lives draw ever closer and closer to the end, we begin to finally understand the truth.
Tired, groggy, sick, boiling. Those were the symptoms of Suspended Animation. Four years of her life would Ellen Lousie Ripley lose to this. Or rather, of her loved ones’ lives.
She had signed up to work on the United Americas Cargo Star Ship around five years ago. She was nineteen then, she was now twenty-one.
Waking, one eye sealed shut, the other just barely open, she looked around, slowly remembering her current situation. She looked down, her body clad in nought but the hair which grew from it. Pulling herself up, she wobbled and swayed till she sat up, holding her legs against her.
‘Ripley.’ mumbled Kane, from beside the pod.
Executive Officer Tamara Dylan Kane was born in Yorkshire, England, Great Britain, a part of The Three World Empire, one of the two great confederacies back home on Earth, the birthplace of the Human Species. Not the birthplace of Ripley.
Kane was a woman in her early thirties, with jet-black, curly hair that reached halfway down her back, and she stood at around five feet and four inches, one of the shortest members of the crew. She was considerate and charming, yet introverted and unimaginative, well-educated and skilled, yet absent creativity and innate talent.
Kane passed her a bathrobe, not for fear that Ripley could be bashful, but instead for the simple factor that the ship was – what felt to one whose body bordered on feverish temperatures – freezing.
The ships life support and air conditioning were built cheaply and made to reduce cost. The crew was expected to only be outside of their pods for days at a time. The climate of the ship would develop gradually from crisp, cold, and fresh to humid, hot, and stuffy.
‘Thanks, who’s up?’ spoke Ripley, her accent was queer, yet easily intelligible.
‘Dallas.’ Replied Kane. ‘Though, he’s not very lucid.’
Ripley stepped from the pod, the damp sole of her foot smacked against the frigid floor. She brought the other leg over the side of the pod. She donned her robe and stumbled over to a door, one of seven in a row. Pressing the button beside the portal, it opened, the door sliding into the wall quickly. She stepped inside and behold a bathroom. Stepping across the minuscule room, she reached the shower, she typed in the temperature she desired and turned it on.
She rubbed her neck with one hand and pulled the girdle of her robe with the other. She dropped her robe to the floor and viewed her naked reflection.
She sported dark, bushy, wavy-textured hair, that settled naturally into a mane. Her face was gorgeous, long and slim, with high cheekbones, a strong jaw, thin streamlined lips, and large round eyes. Her eyebrows were of a coveted, thin shape. Her body was lanky yet attractive, with small breasts, hips of a common width, and a rear that suited the rest of her. Her body and facial hair were untrimmed and she wore no make-up. She was genuine and natural, not interested in pleasing others, and content with herself.
Ripley was born in New Praetoria, Luna, on Olympia, a world colonised by The Three World Empire.