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Mr. Breathmask

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  1. Like
    Mr. Breathmask got a reaction from Pieter Boelen in Rogue One: A Star Wars Story (Gareth Edwards 2016)   
    Come on, guys. It's Star Wars Battlefront: The Movie and we all know it.
     
    Fan service bullshit.
  2. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    15. The Raptors Appear */High Bar and Ceiling Tiles *
    11M2 The Raptors Appear
    11M3/12M1 High Bar and Ceiling Tiles
    The following cues have a large number of small edits. This effects-heavy sequence was probably trimmed down in various places after Williams scored it. In one case, there's several music edits within a continuous shot. For that part I just synced the picture to the music (which is why you'll see some blank screens within an unbroken shot). I also don't think this sequence was heavily restructured - just trimmed.
     
    In the film, the end of The Raptors Appear is replaced with tracked music from High Bar and Ceiling Tiles to underscore the false relief of Kelly and Sarah finding a way out. But as written, the percussion moves straight on into the next cue.
     
    High Bar and Ceiling Tiles is another edited track. During the first half, there's tiny edits at several points. The pause after Kelly lands is slightly longer in the film to give room to Malcolm's line. The cue continues after this pause for Sarah's escape to the roof.
     
    After distracting the raptors with a bunch of loose roof tiles, Sarah tumbles down a hole and escapes. In the film, her reunion with Kelly and Malcolm and their dash towards the helicopter is tracked with the Lost World Theme concert suite, giving a sense of relief and closure to the island adventure. But as written, the piece continues in much the same way, keeping the tension going all the way until they reach the chopper and embark. As the group runs towards the helicopter, the Island’s Voice theme is interwoven, repeated in full force, backed by synth voices as the helicopter takes off. The last part of the track, scoring our heroes inside the flying chopper is used in the film.
  3. Like
    Mr. Breathmask got a reaction from Incanus in REMIXED & RESTORED: The Lost World: Jurassic Park   
    15. The Raptors Appear */High Bar and Ceiling Tiles *
    11M2 The Raptors Appear
    11M3/12M1 High Bar and Ceiling Tiles
    The following cues have a large number of small edits. This effects-heavy sequence was probably trimmed down in various places after Williams scored it. In one case, there's several music edits within a continuous shot. For that part I just synced the picture to the music (which is why you'll see some blank screens within an unbroken shot). I also don't think this sequence was heavily restructured - just trimmed.
     
    In the film, the end of The Raptors Appear is replaced with tracked music from High Bar and Ceiling Tiles to underscore the false relief of Kelly and Sarah finding a way out. But as written, the percussion moves straight on into the next cue.
     
    High Bar and Ceiling Tiles is another edited track. During the first half, there's tiny edits at several points. The pause after Kelly lands is slightly longer in the film to give room to Malcolm's line. The cue continues after this pause for Sarah's escape to the roof.
     
    After distracting the raptors with a bunch of loose roof tiles, Sarah tumbles down a hole and escapes. In the film, her reunion with Kelly and Malcolm and their dash towards the helicopter is tracked with the Lost World Theme concert suite, giving a sense of relief and closure to the island adventure. But as written, the piece continues in much the same way, keeping the tension going all the way until they reach the chopper and embark. As the group runs towards the helicopter, the Island’s Voice theme is interwoven, repeated in full force, backed by synth voices as the helicopter takes off. The last part of the track, scoring our heroes inside the flying chopper is used in the film.
  4. Like
    Mr. Breathmask got a reaction from aj_vader in Will we see a new box set for 40 years of Star Wars?   
    Now, now. Don't be hasty...
  5. Like
    Mr. Breathmask got a reaction from aj_vader in Will we see a new box set for 40 years of Star Wars?   
    So Jay knows, but he's not telling us.
  6. Like
    Mr. Breathmask got a reaction from crumbs in Will we see a new box set for 40 years of Star Wars?   
    So Jay knows, but he's not telling us.
  7. Like
    Mr. Breathmask reacted to Jay in HBO's WESTWORLD (Spoilers Allowed!)   
    Not only are the production values of this show incredibly high (As in: Expensive, gorgeous sets, scenery, cinematography, costumes), but it features FANTASTIC acting every week as well.  Not only is Hopkins great, but so is Ed Harris, Jeffery Wright, AND Evan Rachel Wood... and many others!  Every actor seriously brought their A game to this show.

    How much you ultimately like it therefore depends pretty much entirely on how you feel about the storyline and how its plotted out (IE, how the story is told in terms of what they tell you along the way and what they hide until the end), since the production values and acting and everything is is completely ace.
  8. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    11. On the Glass/Rescuing Sarah **/Reading the Map */The Trek *
    7M2/8M1 Pain of Glass
    8M2 Truck Stop
    8M3 Reading the Map
    8M4/9M1 The Trek
    Here we come to a long stretch of overlapping cues that had several parts dropped or replaced by other music.
     
    Pain of Glass plays in its entirety in the film. It’s the first cue to do so since Fire at Camp and the first album track since Revealing the Plans.
     
    Pain of Glass then goes straight into Truck Stop. The final fanfare starts slightly later in the film and is then microedited before it finishes, but otherwise, this track plays as is. There are some synchronization problems with the final part, as the film appears to be longer than the music and there was likely some looping going on. For the purpose of this video, I have trimmed the shot of the tire rising up by about a third of a second.
     
    Truck Stop goes straight into Reading the Map, the first half of which is dropped from the film. The music doesn’t come in until Ludlow mentions velociraptors, a minute forty into the piece. For the occasion, Williams reprises the carnivore motif from the first film. When syncing to this point, the start overlaps with the end of Rescuing Sarah, eliminating the short rest as the two teams get to know each other. When the music comes in it is mixed notably low, as the sudden start of percussion might have been slightly jarring.
     
    Then, out of the five and a half minutes of music written for The Trek, only about forty seconds was used. The first part of this track, which is supposed to overlap with the end of Reading the Map, was infamously replaced by the concert version of the Lost World theme in the final film. The driving percussion that underscores the journey in the original version is more subdued and ominous than the heroic theme. The adventure theme from Jurassic Park makes a brief appearance when Malcolm mentions Hammond to Ludlow. There’s some atmospheric scoring for the group’s stop and Dieter heading into the woods. In the film, the written music isn’t heard until Dieter is alone and encounters the first compy. The music drops out after the animal appears. The music for him getting lost and rolling down the hill is unused.
     
    When syncing this track to the film, the first part overlaps slightly clumsily with the end of Reading the Map. The start may not be 100% accurate, but I’ve synced up the used part halfway towards the end and let both the music and the film run as is.
     
    So there it is. About 17 minutes of music, a lot of which went unused. Although I can see why. The movie needs a brief "mission statement" after the trucks go over the cliff, so the groups come together and come up with a new plan. As they set out, the movie can't slow down, so there's some heroic music, followed by some silence to let the audience breathe and build tension before the compys are thrown back into the mix. Still, it's interesting to see what could have been...
     
    By the way, I've read your comments regarding the previous few videos. I'm working on some alternates for your viewing pleasure, but they probably won't be up until tomorrow or the day after. Stay tuned!
  9. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    12. The Compys! part 1
    9M2 The Compys!
    Just a short one today, with nothing spectacular going on in terms of unused or material. This brief cue is used in the film as written.
  10. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    14. The Long Grass **/Finding Camp Jurassic *
    10M2 Steiner in the Grass
    10M3/11M1 After the Fall
    Steiner in the Grass, named for its homage to Max Steiner’s King Kong music, plays mostly as is, but it’s slightly longer than the accompanying scene. The scene was likely trimmed and some of the score was removed with it.
     
    After the group slides down the hill, the next cue starts, overlapping with Steiner in the Grass. The opening atmospherics are longer on album than they are in the film. There may have been some trimming at the start of the scene. Nick then moves into the island’s abandoned worker village. The adventure theme from Jurassic Park reappears as Nick discovers a mural painting of the original park. There seems to be a slight pause in the score when Nick opens the door, as the music goes out of sync there. I have recreated the pause by editing the music accordingly. The final part of the track, where the adventure theme reappears over drums is unused. It starts right as Nick switches the power back on. The music ends at a slightly odd place, so I do wonder if this scene was re-edited after Williams scored it, but I have decided to let the scene play as it does in the film.
  11. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic strings and winds underscore Dieter’s death in The Compys Dine, before we go back to more atmospheric material. The Island’s Voice makes an appearance as Roland departs on a search for Dieter. The score finally settles on more moody atmosphere as we see everyone asleep in a new camp. This cue is used in its entirety and segues straight into the next one. It is also the last cue in the entire film that appears unedited!
     
    Upon his unsuccessful return, Roland sets up the next stage of the plan: to wait until morning and then go for the camp that’s nearby. Some tense atmospheric underscore accompanies this scene.
     
    After that, Malcolm is seen walking around the camp when the ground shakes and ripples form in small puddles of water around him. Percussion starts. In the film, this is mixed remarkably low. It builds over Sarah’s realization that her jacket has drawn the T-Rexes and the Rex entering the tent. The music is also noticeably different from this point on, consisting of music layered and tracked from elsewhere in the film. Williams’ original score continues to build upon the percussion until Kelly wakes up. Then, the percussion drops out and tense stringwork scores the newly building panic in Kelly - an interesting shift in musical perspective.
     
    Once Carter wakes up and starts screaming, the music returns to its written form. There’s an edit when Malcolm is seen crawling across the ground, cutting about eight seconds of score. Parts of Truck Stop are re-recorded to underscore the panic as one of the Rexes gives chase, along with some new material. Frantic percussion returns as Roland pulls out a tranquilizer to shoot the other Rex. The music finally culminates into a final percussion hit as the female Rex’s head bursts through the waterfall for a tense scene that plays without score.
  12. Like
    Mr. Breathmask got a reaction from Incanus in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic strings and winds underscore Dieter’s death in The Compys Dine, before we go back to more atmospheric material. The Island’s Voice makes an appearance as Roland departs on a search for Dieter. The score finally settles on more moody atmosphere as we see everyone asleep in a new camp. This cue is used in its entirety and segues straight into the next one. It is also the last cue in the entire film that appears unedited!
     
    Upon his unsuccessful return, Roland sets up the next stage of the plan: to wait until morning and then go for the camp that’s nearby. Some tense atmospheric underscore accompanies this scene.
     
    After that, Malcolm is seen walking around the camp when the ground shakes and ripples form in small puddles of water around him. Percussion starts. In the film, this is mixed remarkably low. It builds over Sarah’s realization that her jacket has drawn the T-Rexes and the Rex entering the tent. The music is also noticeably different from this point on, consisting of music layered and tracked from elsewhere in the film. Williams’ original score continues to build upon the percussion until Kelly wakes up. Then, the percussion drops out and tense stringwork scores the newly building panic in Kelly - an interesting shift in musical perspective.
     
    Once Carter wakes up and starts screaming, the music returns to its written form. There’s an edit when Malcolm is seen crawling across the ground, cutting about eight seconds of score. Parts of Truck Stop are re-recorded to underscore the panic as one of the Rexes gives chase, along with some new material. Frantic percussion returns as Roland pulls out a tranquilizer to shoot the other Rex. The music finally culminates into a final percussion hit as the female Rex’s head bursts through the waterfall for a tense scene that plays without score.
  13. Like
    Mr. Breathmask got a reaction from Amer in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic strings and winds underscore Dieter’s death in The Compys Dine, before we go back to more atmospheric material. The Island’s Voice makes an appearance as Roland departs on a search for Dieter. The score finally settles on more moody atmosphere as we see everyone asleep in a new camp. This cue is used in its entirety and segues straight into the next one. It is also the last cue in the entire film that appears unedited!
     
    Upon his unsuccessful return, Roland sets up the next stage of the plan: to wait until morning and then go for the camp that’s nearby. Some tense atmospheric underscore accompanies this scene.
     
    After that, Malcolm is seen walking around the camp when the ground shakes and ripples form in small puddles of water around him. Percussion starts. In the film, this is mixed remarkably low. It builds over Sarah’s realization that her jacket has drawn the T-Rexes and the Rex entering the tent. The music is also noticeably different from this point on, consisting of music layered and tracked from elsewhere in the film. Williams’ original score continues to build upon the percussion until Kelly wakes up. Then, the percussion drops out and tense stringwork scores the newly building panic in Kelly - an interesting shift in musical perspective.
     
    Once Carter wakes up and starts screaming, the music returns to its written form. There’s an edit when Malcolm is seen crawling across the ground, cutting about eight seconds of score. Parts of Truck Stop are re-recorded to underscore the panic as one of the Rexes gives chase, along with some new material. Frantic percussion returns as Roland pulls out a tranquilizer to shoot the other Rex. The music finally culminates into a final percussion hit as the female Rex’s head bursts through the waterfall for a tense scene that plays without score.
  14. Like
    Mr. Breathmask got a reaction from Muad'Dib in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic strings and winds underscore Dieter’s death in The Compys Dine, before we go back to more atmospheric material. The Island’s Voice makes an appearance as Roland departs on a search for Dieter. The score finally settles on more moody atmosphere as we see everyone asleep in a new camp. This cue is used in its entirety and segues straight into the next one. It is also the last cue in the entire film that appears unedited!
     
    Upon his unsuccessful return, Roland sets up the next stage of the plan: to wait until morning and then go for the camp that’s nearby. Some tense atmospheric underscore accompanies this scene.
     
    After that, Malcolm is seen walking around the camp when the ground shakes and ripples form in small puddles of water around him. Percussion starts. In the film, this is mixed remarkably low. It builds over Sarah’s realization that her jacket has drawn the T-Rexes and the Rex entering the tent. The music is also noticeably different from this point on, consisting of music layered and tracked from elsewhere in the film. Williams’ original score continues to build upon the percussion until Kelly wakes up. Then, the percussion drops out and tense stringwork scores the newly building panic in Kelly - an interesting shift in musical perspective.
     
    Once Carter wakes up and starts screaming, the music returns to its written form. There’s an edit when Malcolm is seen crawling across the ground, cutting about eight seconds of score. Parts of Truck Stop are re-recorded to underscore the panic as one of the Rexes gives chase, along with some new material. Frantic percussion returns as Roland pulls out a tranquilizer to shoot the other Rex. The music finally culminates into a final percussion hit as the female Rex’s head bursts through the waterfall for a tense scene that plays without score.
  15. Like
    Mr. Breathmask got a reaction from Incanus in REMIXED & RESTORED: The Lost World: Jurassic Park   
    11. On the Glass/Rescuing Sarah **/Reading the Map */The Trek *
    7M2/8M1 Pain of Glass
    8M2 Truck Stop
    8M3 Reading the Map
    8M4/9M1 The Trek
    Here we come to a long stretch of overlapping cues that had several parts dropped or replaced by other music.
     
    Pain of Glass plays in its entirety in the film. It’s the first cue to do so since Fire at Camp and the first album track since Revealing the Plans.
     
    Pain of Glass then goes straight into Truck Stop. The final fanfare starts slightly later in the film and is then microedited before it finishes, but otherwise, this track plays as is. There are some synchronization problems with the final part, as the film appears to be longer than the music and there was likely some looping going on. For the purpose of this video, I have trimmed the shot of the tire rising up by about a third of a second.
     
    Truck Stop goes straight into Reading the Map, the first half of which is dropped from the film. The music doesn’t come in until Ludlow mentions velociraptors, a minute forty into the piece. For the occasion, Williams reprises the carnivore motif from the first film. When syncing to this point, the start overlaps with the end of Rescuing Sarah, eliminating the short rest as the two teams get to know each other. When the music comes in it is mixed notably low, as the sudden start of percussion might have been slightly jarring.
     
    Then, out of the five and a half minutes of music written for The Trek, only about forty seconds was used. The first part of this track, which is supposed to overlap with the end of Reading the Map, was infamously replaced by the concert version of the Lost World theme in the final film. The driving percussion that underscores the journey in the original version is more subdued and ominous than the heroic theme. The adventure theme from Jurassic Park makes a brief appearance when Malcolm mentions Hammond to Ludlow. There’s some atmospheric scoring for the group’s stop and Dieter heading into the woods. In the film, the written music isn’t heard until Dieter is alone and encounters the first compy. The music drops out after the animal appears. The music for him getting lost and rolling down the hill is unused.
     
    When syncing this track to the film, the first part overlaps slightly clumsily with the end of Reading the Map. The start may not be 100% accurate, but I’ve synced up the used part halfway towards the end and let both the music and the film run as is.
     
    So there it is. About 17 minutes of music, a lot of which went unused. Although I can see why. The movie needs a brief "mission statement" after the trucks go over the cliff, so the groups come together and come up with a new plan. As they set out, the movie can't slow down, so there's some heroic music, followed by some silence to let the audience breathe and build tension before the compys are thrown back into the mix. Still, it's interesting to see what could have been...
     
    By the way, I've read your comments regarding the previous few videos. I'm working on some alternates for your viewing pleasure, but they probably won't be up until tomorrow or the day after. Stay tuned!
  16. Like
    Mr. Breathmask got a reaction from Muad'Dib in REMIXED & RESTORED: The Lost World: Jurassic Park   
    11. On the Glass/Rescuing Sarah **/Reading the Map */The Trek *
    7M2/8M1 Pain of Glass
    8M2 Truck Stop
    8M3 Reading the Map
    8M4/9M1 The Trek
    Here we come to a long stretch of overlapping cues that had several parts dropped or replaced by other music.
     
    Pain of Glass plays in its entirety in the film. It’s the first cue to do so since Fire at Camp and the first album track since Revealing the Plans.
     
    Pain of Glass then goes straight into Truck Stop. The final fanfare starts slightly later in the film and is then microedited before it finishes, but otherwise, this track plays as is. There are some synchronization problems with the final part, as the film appears to be longer than the music and there was likely some looping going on. For the purpose of this video, I have trimmed the shot of the tire rising up by about a third of a second.
     
    Truck Stop goes straight into Reading the Map, the first half of which is dropped from the film. The music doesn’t come in until Ludlow mentions velociraptors, a minute forty into the piece. For the occasion, Williams reprises the carnivore motif from the first film. When syncing to this point, the start overlaps with the end of Rescuing Sarah, eliminating the short rest as the two teams get to know each other. When the music comes in it is mixed notably low, as the sudden start of percussion might have been slightly jarring.
     
    Then, out of the five and a half minutes of music written for The Trek, only about forty seconds was used. The first part of this track, which is supposed to overlap with the end of Reading the Map, was infamously replaced by the concert version of the Lost World theme in the final film. The driving percussion that underscores the journey in the original version is more subdued and ominous than the heroic theme. The adventure theme from Jurassic Park makes a brief appearance when Malcolm mentions Hammond to Ludlow. There’s some atmospheric scoring for the group’s stop and Dieter heading into the woods. In the film, the written music isn’t heard until Dieter is alone and encounters the first compy. The music drops out after the animal appears. The music for him getting lost and rolling down the hill is unused.
     
    When syncing this track to the film, the first part overlaps slightly clumsily with the end of Reading the Map. The start may not be 100% accurate, but I’ve synced up the used part halfway towards the end and let both the music and the film run as is.
     
    So there it is. About 17 minutes of music, a lot of which went unused. Although I can see why. The movie needs a brief "mission statement" after the trucks go over the cliff, so the groups come together and come up with a new plan. As they set out, the movie can't slow down, so there's some heroic music, followed by some silence to let the audience breathe and build tension before the compys are thrown back into the mix. Still, it's interesting to see what could have been...
     
    By the way, I've read your comments regarding the previous few videos. I'm working on some alternates for your viewing pleasure, but they probably won't be up until tomorrow or the day after. Stay tuned!
  17. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    10. Up in a Basket */In the Trailer *
    6M2/7M1 Part I Up in a Basket
    6M2/7M1 Part II Up in a Basket
    This six-minute sequence features almost five minutes of unused music. Of the first cue, only the first minute is used in the film. The music cuts off the moment Malcolm, Eddie and Kelly hear the distant T-Rex roar. Williams then proceeds to underscore the mounting tension as Malcolm has to choose between his daughter and his girlfriend and the danger continues to grow closer every second.
     
    In the Trailer is marked as Part II of Up in a Basket on the sheet music and it's entirely unused. There’s a stretch of silence longer than this track until On the Glass begins, but the Part II title is indication enough to me that it’s meant to overlap with Up in a Basket. This also produces a few interesting sync points. The infant motif returns for the baby Rex making contact with its parents while it’s still in the truck and the percussion returns the moment Nick removes the animal’s muzzle. All this plays without score in the final film, playing to the danger of the Rexes outside, rather than the miracle of parenting dinosaurs. This is an action adventure, after all.
     
    The attack on the trailers plays without score, until Sarah falls down the dangling truck and lands on the rear window. This will kick off an almost 18 minute long stretch of film that was originally scored back to back, but had various parts dropped or replaced with tracked music. Tomorrow, we're going to see all of those 18 minutes with score!
  18. Like
    Mr. Breathmask got a reaction from Sharkissimo in REMIXED & RESTORED: The Lost World: Jurassic Park   
    10. Up in a Basket */In the Trailer *
    6M2/7M1 Part I Up in a Basket
    6M2/7M1 Part II Up in a Basket
    This six-minute sequence features almost five minutes of unused music. Of the first cue, only the first minute is used in the film. The music cuts off the moment Malcolm, Eddie and Kelly hear the distant T-Rex roar. Williams then proceeds to underscore the mounting tension as Malcolm has to choose between his daughter and his girlfriend and the danger continues to grow closer every second.
     
    In the Trailer is marked as Part II of Up in a Basket on the sheet music and it's entirely unused. There’s a stretch of silence longer than this track until On the Glass begins, but the Part II title is indication enough to me that it’s meant to overlap with Up in a Basket. This also produces a few interesting sync points. The infant motif returns for the baby Rex making contact with its parents while it’s still in the truck and the percussion returns the moment Nick removes the animal’s muzzle. All this plays without score in the final film, playing to the danger of the Rexes outside, rather than the miracle of parenting dinosaurs. This is an action adventure, after all.
     
    The attack on the trailers plays without score, until Sarah falls down the dangling truck and lands on the rear window. This will kick off an almost 18 minute long stretch of film that was originally scored back to back, but had various parts dropped or replaced with tracked music. Tomorrow, we're going to see all of those 18 minutes with score!
  19. Like
    Mr. Breathmask got a reaction from Josh500 in The Adventures Of Tintin: The Secret Of The Unicorn VS. War Horse   
    Tintin all the way.
  20. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    7. Corporate Helicopters */The Hunt *
    4M2 Corporate Choppers
    4M3/5M1 The Round Up
    So now we get to... The Hunt. Or The Round Up as it was originally called. It took a lot of experimenting and I think I still haven't gotten quite as close to what it was originally like as I'd want to. This time, rather than posting just one video, I'll try to take you through the process and show some different results. The final video featuring both The Round Up and the overlapping preceding cue is at the very bottom of this post.
     
    But we start off with Corporate Choppers.
     

     
    In the film, the music doesn’t start until we actually see the choppers, but by then we’re already a few seconds into the cue. As you can see, the score now starts right when Kelly first notices the distant sounds of the choppers. The arrival of this other team also signals a significant change in the score's sound: as the already dubious tranquility of the island is about to be brutally disturbed, the percussion becomes the driving factor in the music. This percussive drive will become the signature sound of The Lost World.
     
    The first part of Corporate Choppers is heavily edited in the film, with large chunks lifted out. It’s likely we originally saw more of Ludlow’s crew landing and unloading and the team's reactions to their arrival. Now, we simply cut from approaching helicopters to the all-terrain vehicles racing across the island. The Island’s voice is featured prominently throughout the cue as the motif is repeated and swells over the arrival of the antagonists.
     
    There is some looped music in the conversation between Ludlow and Roland, as the scene is longer than what we hear on album. I’ve synced the end of the track to the film, so when we first cut to Roland and Ludlow, the music isn’t quite the same as what we hear in the picture.
     
    When Corporate Choppers ends, The Round Up is supposed to begin right away. This track is really hard to sync up. The Round Up is particularly difficult to edit back into the picture, as the cue is entirely unused, likely written for an alternate edit of the sequence and features very few possible sync points. For my first attempt, I simply started the track The Hunt right where Corprorate Choppers ends and let it play as is:
     

     
    As you can see, it doesn’t quite sync up. So I started tinkering about and ended up with some alternate versions that might represent the original sequence better.
     
    By experiment, I started by removing a few shots that I felt where out of place. I have cut the shot of Ludlow racing the camouflage as he watches the motorcycle race amongst the dinosaurs, as well as the shot of Nick placing his long-range microphone on the edge of the cliff. This seemed to solve some minor syncing issues, but still felt off (if you really want to, you can view this version here).
     
    Then, in addition to cutting the aforementioned shots, I rearranged some of the scenes, basically switching the introduction of Burke with the capture of the infant Pachysephalosaurus. Musically, this seemed to make slightly more sense. Of course, all this still doesn't account for other possible edits. For one thing, I have only moved entire shots around, while some of this might have been trimmed or extended after Williams scored the sequence. And this version sort of hinges on me removing the right bits. But what you see here is probably my best guess at this point:
     

     
    And finally, here is the entire thing, with Corporate Choppers leading into The Hunt set to the re-edited sequence:
     

  21. Like
    Mr. Breathmask got a reaction from Will in Will we see a new box set for 40 years of Star Wars?   
    I expect Lucasfilms' priority right now is to market and profit from their latest products. It'll take some quiet waters for them to go back to the old stuff. And with new movies lined up for the next several years, I don't see these re-releases happening anytime soon.
  22. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    9. Spilling Petrol and Horning In *
    5M3/6M1 Spilling Petrol
    5M3/6M1 Part II Horning In
    Here we get to another sequence that was quite heavily cut down: the nighttime camp sequence. The conversation overlooking the camp is unscored in the film. When we cut to Ludlow down below, we're already 45 seconds into the track. Between these scenes, the August 22 script features a lot more stuff. There's much more dialogue between the team on the ridge, featuring Nick recounting a previous encounter with Roland and Sarah mentioning her fear of heights. Then there is a scene where Ludlow gets drunk and accidentally breaks the baby T-Rex’s leg (so this explains that it wasn’t Roland or Ajay who broke the baby’s leg to get it to cry for its parents - which always seemed particularly cruel to me - and why Ludlow is staggering about as he gives his business presentation).
     

     
    There is no indication these parts were scored. As scripted, the baby T-Rex scene would certainly be longer than 45 seconds. But the very next part has Nick and Sarah sabotaging the InGen group’s vehicles and draining their fuel tanks. Evidence of these scenes exists in published stills as well as of course the cue title Spilling Petrol.
     
    55 IN THE CAMP, they creep along, hiding behind a stack of fuel barrels. They lean around the edge for a look. They're directly behind the row of vehicles. They move into the open, covering the ground between them and the jeep. Reaching them, Nick hits the dirt and wriggles under the first one. Sarah stands lookout. UNDER THE JEEP, Nick pulls the bolt cutter from his back pocket. He squirms along until he finds the jeep's fuel line -- -- and he snips it. He ducks out of the way just as the stream of fuel begins to pour into the dirt. SARAH, moves slowly down the line, standing watch as Nick crawls out from under the first jeep and proceeds to the second. She hears another SNIP, then keeps moving, to cover him as he moves to the third.
     

     
    So I assume the first part of Spilling Petrol was meant to accompany at least this last scene that was cut. So rather than starting the track early and having the first part play over the conversation atop the ridge, this video starts with almost a minute of blank screen, representing the deleted scene above.
     
    The sequence cutting between Ludlow’s speech and Nick and Sarah’s trek across the camp was also probably trimmed at various points. Because the rest of the track, leading up to the Triceratops charging into the camp, is heavily edited. I don’t know quite where and if the picture cuts coincide with the music edits, but for the purpose of this video I have synced up the score to the places it appears in the film as much as possible, so you at least get a sense of how much was removed. The August 22 script that I've been referring to doesn't actually feature Ludlow's speech (most of it is featured in the board room scene at the start of the film instead). In this version, he is talking to Burke about the progress they've made when the triceratops bursts through their tent.
     
    So clearly, this is a part of the film that went through many changes late in the game.
     
    The final part of the track, Horning In, underscoring the dinosaurs rampaging across the camp and Nick freeing the baby T-Rex to the sounds of the infant motif appears pretty much as written, save for a few micro-edits around effects shots.
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    7. Corporate Helicopters */The Hunt *
    4M2 Corporate Choppers
    4M3/5M1 The Round Up
    So now we get to... The Hunt. Or The Round Up as it was originally called. It took a lot of experimenting and I think I still haven't gotten quite as close to what it was originally like as I'd want to. This time, rather than posting just one video, I'll try to take you through the process and show some different results. The final video featuring both The Round Up and the overlapping preceding cue is at the very bottom of this post.
     
    But we start off with Corporate Choppers.
     

     
    In the film, the music doesn’t start until we actually see the choppers, but by then we’re already a few seconds into the cue. As you can see, the score now starts right when Kelly first notices the distant sounds of the choppers. The arrival of this other team also signals a significant change in the score's sound: as the already dubious tranquility of the island is about to be brutally disturbed, the percussion becomes the driving factor in the music. This percussive drive will become the signature sound of The Lost World.
     
    The first part of Corporate Choppers is heavily edited in the film, with large chunks lifted out. It’s likely we originally saw more of Ludlow’s crew landing and unloading and the team's reactions to their arrival. Now, we simply cut from approaching helicopters to the all-terrain vehicles racing across the island. The Island’s voice is featured prominently throughout the cue as the motif is repeated and swells over the arrival of the antagonists.
     
    There is some looped music in the conversation between Ludlow and Roland, as the scene is longer than what we hear on album. I’ve synced the end of the track to the film, so when we first cut to Roland and Ludlow, the music isn’t quite the same as what we hear in the picture.
     
    When Corporate Choppers ends, The Round Up is supposed to begin right away. This track is really hard to sync up. The Round Up is particularly difficult to edit back into the picture, as the cue is entirely unused, likely written for an alternate edit of the sequence and features very few possible sync points. For my first attempt, I simply started the track The Hunt right where Corprorate Choppers ends and let it play as is:
     

     
    As you can see, it doesn’t quite sync up. So I started tinkering about and ended up with some alternate versions that might represent the original sequence better.
     
    By experiment, I started by removing a few shots that I felt where out of place. I have cut the shot of Ludlow racing the camouflage as he watches the motorcycle race amongst the dinosaurs, as well as the shot of Nick placing his long-range microphone on the edge of the cliff. This seemed to solve some minor syncing issues, but still felt off (if you really want to, you can view this version here).
     
    Then, in addition to cutting the aforementioned shots, I rearranged some of the scenes, basically switching the introduction of Burke with the capture of the infant Pachysephalosaurus. Musically, this seemed to make slightly more sense. Of course, all this still doesn't account for other possible edits. For one thing, I have only moved entire shots around, while some of this might have been trimmed or extended after Williams scored the sequence. And this version sort of hinges on me removing the right bits. But what you see here is probably my best guess at this point:
     

     
    And finally, here is the entire thing, with Corporate Choppers leading into The Hunt set to the re-edited sequence:
     

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