How is this the same length as TPM yet it feels 10x as long?

AOTC is the longest star wars movie, unless 7 is longer

I got halfway through before giving up the other day.

I don't understand because it doesn't have any wacky aliens on par with Jar Jar Binks and Anakin being a psychopath is hilarious. But it was just dogshit.

I watched it today too and even though I like it (nostalgia/casual) I started to get bored right about the time Obi-Wan gets to Geonosis.

>>64498906
The shitty greenscreen backgrounds and ugly digital look of the whole thing just make watching any part of it a chore. You can tell Lucas knew the pacing was fucked up because there's wall to wall music throughout the whole thing even when characters are just talking but it didn't help.

>>64498863
It's longer than TPM by only 5 minutes
>>64498906
I made it to the conveyor belt scene and said "fuck it I'll finish this tomorrow", I know there was only about half an hour left at that point but I couldn't keep going

>>64498985

It's strange because Phantom Menace actually looks better except in a few shots. Like George was a little nervous coming back to Star Wars and wasn't ready to go full greenscreen.

>>64499074
All the CG in Phantom Menace looks better. The only way I can rationalize AOTC looking worse is George just getting lazy the same way Zemeckis did. He thought cg could just do anything and counted on it too much. I mean he was basically making an animated movie.

I always start AotC enjoying it and feeling good but by the end I want to never watch a Star Wars movie ever again

there's nothing going on, it's a boring shitty movie

File: 1304769617889.jpg (45KB, 416x480px) Image search: [Google]

45KB, 416x480px

>>64498906
>>64498985
>>64499074
>>64499149


While Episode I was shot in film, Lucas snuck in a very short scene shot in digital. The second of the series put the early 24p HDCAM CineAlta cameras from Sony through their paces. With Revenge of the Sith the crew took a leap into a much richer color space with the new generation of Sony RGB recording.

Episode III was shot using the latest generation of HD equipment: Sony HDC-F950 cameras and Sony SRW-1 and SRW-5000 VTRs running 4:4:4 RGB using the SQ recording rate of 440 Mb/sec (with additional hard disk recorders built by ILM). Compared to the earlier 4:2:2 format, the SR 4:4:4 format made a significant difference for the ILM crew.

AotC is the first big tentpole movie shot entirely with a digital camera, a Sony HDW-F900 which shoots @ about 2K pixels. This is why AotC looks more visually dated than TPM.
Most people don't realise that the prequels were a big technological experiment that pushed movie tech forward, very much like the OT. The digital cameras and full digital pipeline were a big part of this experiment.

>>64499855
When so much of the movie is shot against blue screen or green screen, we rely on color-difference matting techniques. That means the more colors the better.
With the earlier equipment, RGB color from the camera was converted into 4:2:2 YUV format when it was recorded. This format effectively slices the color bandwidth in half because one color value represents more
than one pixel. The result is fewer chroma (color) samples than luma (luminance). This chroma sub-sampling combined with spatial sub-sampling effectively reduced HD’s 1920 resolution to 1440 for luma and 960 for chroma, according to ILM HD Supervisor Fred Meyers.
“It’s based on science that says your eye isn’t as sensitive to color transitions as to luminance,” explains Meyers. “That’s valid, but it’s not optimum for images recorded on tape that are further manipulated, whether they’re used for compositing and visual effects, digital intermediates and color-corrections, or for blowing an image up.

>>64500138
In bluescreen extractions, it’s the fine lines that matter. “Say an actor with a light-colored flesh tone is in front of a blue screen. The flesh tone is mostly red and green with very little blue in it. It has extremely high luminance and relatively low saturation color. It’s immediately adjacent to a low-luminance high-saturation color that’s on the far end of the color space. In 4:2:2, the luminance makes that transition in one pixel, but because the chroma has been subsampled, the color needs two pixels. So trying to get fine extractions for hair and thin, wispy objects without getting a bit of a line was tricky. ILM got good results, but it was more work than with a film scan.

The problem was exacerbated when the 4:2:2 YUV was converted back into RGB. “When the color information which is at half resolution gets reconstructed as RGB, you have to interpolate those values. There’s always a little round-off error. Furthermore, the previous 4:2:2 recording formats used only 8 bits for color (and some used 8 bits for luminance as well).

>>64500189
With the new HDCAM SR 4:4:4 RGB used on RotS, however, color information is kept for each pixel, all 1920 pixels across
the image. The color stays RGB all the way. And, the format stores color using 10 bits per channel, allowing 1024
shades per color, not 8-bit’s paltry 256. That provides more dynamic range for shadows and highlights. It makes
bluescreen extractions easier.