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  1. That's why I'm not interested in those film edits that certain people have obsessed over. I don't find listening to a butchered presentation appealing. Mine took the 'film version' cues - the bonus cues on disc 3 - and replaced the OST versions with them. Aside from that were minor things like audio adjustments and refinements.
  2. Actual music. It was used as a sort of template for the "Titanic Live" concerts which is why it's different from the actual in-film music stem.
  3. I don't mind differences in mixing like removing the Uilleann pipes from "Unable To stay..." or amping up the bass line in "Take Her To Sea" , some of those work and work well. It's the chopped up, cut up, tracked, looped, thrown into a blender and turned into confetti nonsense I don't care for when it comes to "film mixes". It's two different things really: Film MIXES versus Film EDITS. Film edits largely suck.
  4. Yes exactly, and that "2 1/2 Miles Down" film edit is full of differences, the 'Violin Tool kit' is heard twice in the actual film mix, not once like this concert stem thing. None of the source music is right - it's missing all the sweeteners to give it the ghostly, distant sounds. Some of the transitions are wrong. You nailed the other two: The film edit transition between "Rose" and "Unwilling to Stay..." uses the opening to "An Ocean of Memories", specifically the light chimes. The film used "The Beacon" by Michael Stearns, and it's not in this film stem thing either. You're right The film stem thing has the driving, thumping bass line from "Take Her To Sea, Mr Murdoch" in it, but you don't hear that in the film. It doesn't even work there anyway. The iceberg effect, if you're referring to that metallic sweep in the sound mix, I wanted it, and I got it and used it in my custom of the score. I think it's a cool transition for the entire film and score.
  5. I used that film mix stem leak whatchamacallit for the following: The pipe-less segment from "Unable To Stay, Unwilling To Leave", and I had to fix a flaw in the rhythm in one part of it (since the edits in the film are so haphazard at times) which is in my main program. The film mix of "Rose", since it was just mixing differences and no actual cuts, as part of the bonus material. A proper ending to the "Intro To Building Panic" since it was crossfaded on the LLL. A guideline / template to make "Southampton" a film mix, but not with the cuts to shorten segments of the music, but just to add in the elements missing from the as-written cue (piano opening from 'Promenade', chimes and slower strings from the trailer) in addition to my own take on the film edit of "Leaving Port" which I recreated using the 'Heaven Help Us' track. That's all bonus material stuff, not main program. That's all I used the film stem for.
  6. Cameron revised it slightly (again) for the "20 Years Later" NatGeo special back in July.
  7. Let's Rescore Scenes! (Fun Thread)

    These are rescored sequences using the intended score, largely dropped from the final film. TITANIC Theatrical Trailer: This took a bit of time to make to isolate the dialogue, and I ended up replacing some of it with lines from the final film. This is the theatrical trailer with the originally intended music as provided on the LLL set. The trailer's music was edited down, looped and the second half replaced with cues from "Courage Under Fire". This restores the original track as written. TITANIC - Leaving Port: There's a small amount of dialogue to introduce the sequence, but this is what the original intention for this scene was meant to be. The ending of it does not fully synchronize with the visual, because that would've required slowing part of the film down to make it fit.
  8. I'd love if Perfect Storm was one of them, it'd be a joy to hear it legit, replacing the edit I made back in 2013.
  9. I split up the two cues for my custom arrangement of the album and the two cues are slightly different in the performance and mixing. Butterfly Comb is a little softer, more distant. I think they were crossfaded but it wasn't much of an overlap. Making them stand alone was easy enough though.
  10. I don't think he does either. Why would he? Sure he was a nice person but he was a man of the times, and probably not going to give any regard to Jack anyway.
  11. Talking about one of my favorite things is always good. I'm out of the other game elsewhere (as JHFan), except for my own personal enjoyment. People really seemed to take to that Wonder Woman thing, but honestly, The Batman stuff in that film has more of a melody to it than that. Glad you noticed the ' '
  12. Since this is the big Horner thread at the moment, it appears that cellist Tina Guo (the Wonder Woman 'theme' from Batman v Superman) is performing "Theme From Cocoon" and "I See You" on a new James Horner album by Sony. You can find her performing excerpts on her Instagram and Facebook pages.
  13. Yes exactly. It was edited into both versions of A Promise Kept as heard in the film. It's heard immediately before Sissel begins singing when Jack dies.
  14. What does God need with a Starship? And what's the deal with homework? You're not working on your home! Ovaltine. Ever had this stuff? The mug is round, the jar is round, they should call it 'Roundtine'. You know what I'm talking about.