TSMefford

To be fair though... he was also "on board" with The Flash and we all know how that turned out.

Oh HELL Yes! Keep buying them people! I can't believe we're finally getting this after all this time.

Naked, as in, a link without any context

The live-action How to Train Your Dragon movie looks great!

I've done in manually before when I first discovered them. Just used a click track and then manually animated them in Adobe Premiere. LOL. Not a proper or professional way to do, but it worked.

Like I said above, the Academy arbitrarily decides when it actually wants to enforce its own rules. Lol.

Oscars Shakeup: ‘Barbie’ Moved to Adapted Screenplay by Academy Despite WGA Classification as Original (EXCLUSIVE) https://variety.com/2024/film/awards/barbie-moved-adapted-screenplay-oscars-1235848136/?fbclid=IwAR2IqZeTi_G7VwUGttPTdHrLq_MEdTkv6By3lFvnnvdGjQmSHGnFDYllRK8 So, let me get this straight. To the Academy, Barbie is an 'Adapted Screenplay' - likely due to the fact that Barbie and Ken are existing IP. Even though this specific Barbie story is not pre-existing within the IP. It's not based on a book or any other pre-existing medium other than the characters, seemingly. However, Biopics, based on real people and real events that are pre-existing and undoubtedly based on research and pre-existing stories, such as King Richard, The Trial of the Chicago 7, Judas and the Black Messiah, Vice, Green Book (which won), Spotlight (another winner), etc. count as 'Original Screenplays'? I really don't care what Barbie goes under specifically, but it's stuff like this that have made me unable to take the Oscars seriously for years now. Just seemingly arbitrarily applying rules when they feel like it.

Alright. Well. I tried to put together a spreadsheet (which I am still continuing to tweak) to organize my thoughts, but it's all a bit confusing... When speaking about what we had before this expansion (outside of the OST) it's an utter mess. However it was put together, it was done very clumsily. Which is unfortunate because clearly there was access to certain material that was not available anywhere else, though not all of it. The prior version(s) have a couple clean openings and endings in certain areas, as well as extended silences between some cues (allowing them to be split). There's even one track that seems to be an OST version, but clearly has extra orchestra noise that abruptly cuts on and lasts a fair bit longer than any noise you hear on the OST itself). However, some cues are just OST edits or mixes...and some are even edits of the OST edits. With all that in mind, the prior version(s) were also labeled and organized horrendously - made up cue titles, incorrect order (which leads to flat out inaccurate titles), and mislabeling things as alternates or even unused that are simply OST edits or mixes. Like I said... a mess. Maybe it originated from some sessions, maybe a promo or something, who knows. I personally have never seen an "original" version that wasn't tampered with in some way. So, what do we gain here with the Varese deluxe edition? Mainly, an extra cue (Disc 1, Track 21 "Haven Guitar") plus seemingly increased dynamics and better sound, not to mention having everything properly organized and titled (with exception to some very slight tweaks of the original titles here and there). So, to me, the gain is nice - this is a definitive presentation of this score and I think there's quite a few pieces left off the OST that deserve to be heard. So what's missing / what's the trade-off? Well, my biggest pet peeve with the set...some cross-fading and tracks bleeding into one another. I can understand doing it when it is done in the film - many of the tracks during the big climax of the film are really meant to go together (but at that point, why not just put them in one track rather than have awkward track splits?). However, there are definitely areas where crossfades are present here where the cues are clearly separated in the film. None of these crossfades are present in the previous material that was available. CROSSFADES: 1-02 "Escape" and 1-03 "The Operative" have a 25 second gap between them in the film, yet Track 2 crossfades into Track 3. 1-04 "Death of Mathias" and 1-05 "Serenity" have a 10 second gap between them in the film, yet they're crossfaded together here. 1-15 "Mal Takes River In" and 1-16 "River’s Eyes" have over a minute long gap between them in the film, yet they're crossfaded here. 1-19 "Subliminal Message" and 1-20 "River & Simon In Locker" have over a minute long gap between them in the film, yet they're crossfaded here. 1-23 "School Flashback" and 1-24 "Mal & Inara" aren't crossfaded, but have a poor track split. There's a full 2 seconds of silence at the end of 1-23 before the opening of 1-24 begins before the track ends. 2-03 "Truth / Mal's Speech" and 2-04 "Universe Gets It" actually do overlap in the film, but are separate here. CLEAN OPENS & ENDS: Clean Ending for 1M2 "The Escape" can be found on both the OST and the Boot Clean Open for 1M3 "The Operative" can be found on the Boot Clean Ending for 1M3A "Death of Mathias" can be found on the Boot Clean Open for 1M4 "Serenity" can be found on both the OST and the Boot Clean Ending for 2M7 "Trading Station Robbery, Part I" can be found on the Boot Clean Open for 2M7A "Trading Station Robbery, Part II" can be found on the Boot Clean Ending for 2M7A "Trading Station Robbery, Part II" can be found on both the OST and the Boot Clean Ending for 2M18 "Mal Takes River In/Operative Ship" can be found on the Boot Clean Open for 2M19 "River's Eyes" can be found on the Boot Clean Ending for 3M21 "Subliminal Message" can be found on the Boot Clean Open and Ending for 3M22 "River and Simon in Locker/Miranda" can be found on both the OST and the Boot Clean Open for 5M43 "Space Battle" can be found on both the OST and the Boot Clean Ending for 5M45 "Wash Killed/Run To Black Room" can be found on the OST Clean Open for 6M58 "Broadcast Beams/River Is Alive" can be found on the Boot A Clean Ending for part of 6M58 "Broadcast Beams/River Is Alive" can be found on both the OST and the Boot, though it may have been made in editing for the OST. Clean Open for 6M59 "Funeral/Rebuilding Serenity" can be found on both the OST and the Boot As far as anything that is missing (film versions, extra cues, etc.): NOTABLE FILM VERSIONS / EDITS: 1M3 "The Operative" (Disc 1, Track 3) in the film, is a fair bit shorter (20 seconds or so). It was likely edited down using the stems (but might be accomplished without them). 2M12 "Mal Reminisces/Land at Beaumonde" (Disc 1, Track 11) in the film, tracks over the opening half of the cue with a bit of 6M60 "Prep for Flight", though the music stems would've probably been used to fully make this work. 3M22 "River and Simon in Locker/Miranda" (Disc 1, Track 20) in the film, tracks the final bass drum hit to occur again earlier in the cue, stems may not have been needed for this one, but were likely used. 3M29 "Training House Fight" (Disc 1, Track 26) in the film, is artificially split into two parts utilizing the music stems, dialing out at about 1:30, before coming back in again around 1:41. 4M37 "Warn Everyone" (Disc 1, Track 33) in the film, dials out the last two chords, ending early with (I assume) a faked ending - this one is doable with what's present here. 4M38 "You’re Not A Reaver" (Disc 1, Track 34) in the film, seems to track guitar from later in the cue over the opening (so the cue starts with guitar). The music stems would've been used for this one. MISSING TRACKS: "Fruity Oaty Bar" by Mark Brooks & Peter Gilstrap (Can be found on home media release bonus features) "Firefly Main Title (Acoustic Instrumental Version)" by Joss Whedon (Can be found in the end of the credits) OST VERSIONS: "Truth / Mal's Speech" is edited on the OST (and the Bootleg) "Jayne & Zoe / Final Battle" is a condensed edit of 6M55 & 6M58 "Funeral / Rebuilding Serenity" is the "as recorded" version of 6M59. The strings present on the deluxe are actually the ending of 6M58, meant to crossfade into 6M59. There also appears to be some slight mixing differences at times, for example "Going for a Ride" and "Generator Room" has noticeably more reverb. And of course Disc 2, Tracks 18 and 19 are not used in the film, but were used plenty on the films bonus features. In the film, the credits include: 6M62 "End Credits" 1M5 "Going For A Ride" 6M59 "Funeral/Rebuilding Serenity" "Firefly Main Title (Acoustic Instrumental Version)" by Joss Whedon Hope this helps a bit. EDIT: Added clean opens and ends

Never heard a note of those, but sure why not. I'll grab them.

I have pretty extensive experience with this score, so I'll try to dive into it next week when I FINALLY get to take a vacation. Haven Guitar was the first thing I checked as well and it's so nice to hear it so clean and without the space ship SFX. A bit odd too though as I've gotten so used to hearing it that way. Lol. Off the top of my head too, we are of course missing the "Fruity Oaty Bars" source music and the acoustic guitar version of "The Ballad of Serenity", though I assume they are not included because they were not written by David Newman. Would've been nice though. As far as I know there weren't any significant alternates or anything like that though. I'll write back sometime next week after some comparisons with previous material.

Seems there's an explanation for the weird edit of the title sequence. From the BBC iPlayer Commentary for "The Giggle": I don't think what they're talking about sounds like a bad idea. I would've been curious to see it. I agree with Tennant though - what's Moffat got to do with this anymore?

Mine has shipped! No date yet.

yeah exactly. It’s fine.

Considering all the drama in this thread over a single Doctor Who episode, my gripe was the poor music editing & sync in the title sequence. I vastly prefer this fan-edit of the intro that restores the sync to what has been done traditionally. Makes it feel way better. Loved the visuals though! It does indeed remind me of Smith's, which I'm partial to.

I do know the film. Based on the costumes, this would've been from the first action sequence, but there are no shots or scenes like this. It's likely just an artist creating a unique composition based off some various different images perhaps. I don't mind it. I mean, it's not remotely in keeping with the style or tone of the film, but eh. It's fine.

Mentioned this in the Varese thread, but I've ordered this. We finally have the "Haven Guitar" cue clean of SFX. I don't know of anything else that was missing tbh.

I'll go for Serenity. It'll be nice to finally have Haven Guitar free of SFX.

Oh my god. PLEASE. This would make my year.

Ouch. My wallet

Oh I see. All the threads are up already lol.

Alfred Hitchcock's Topaz by Maurice Jarre

This is perfect - there's 4 minutes left on my current Office episode.

FIIIIIIIIIIIIIVE

Yep. They're fun! Haven't seen the show in years so it's like a mix of the classic nostalgic scenes that I know so well and some truly great new moments. I wouldn't call most of it earth-shattering, but occasionally there's little subplots that got taken out as well as new cold opens. Very enjoyable though. I'm only at the end of Season 2, so it could get more substantial as it goes I suppose.