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TMP Appreciation

I'm just looking on the at the my apple movie store. I purchased TMP a while back.
Says it in 4k dolby vision and has the directors edition as a special feature.

Then there's another one that's labelled Star Trek The Motion Picture The Directors Edition. With 4k dolby vision and dolby atmos and has the theatrical cut as a special feature.

Is there a noticeable difference between the two?

Edit. I have doubled dipped and purchased the Directors Edition in 4k
The directors edit as an special extra on the normal theatrical cut looks like it may be the old dvd version.

I originally bought the theatrical version on Apple/itunes. The special features do include the original Director’s Cut, but it’s the SD version from 2002 (?) rather than the newer remastered version. So the picture quality isn’t great. So, I’m guessing, the theatrical included as a special feature in the Director’s Cut probably isn’t the new remastered 4K version ..but I could be wrong.
 
…no offense, but for some reason it’s driving me nuts: Could someone fix “Appreciation” in the thread title?
Yeah I'm dyslexic and unfortunately no matter how much I try to proof read my posts and correct and edit my mistakes they still slip in here and there.
 
Sorry! No offense was intended.
Non taken. ;)
Tbh I didn't even notice the mistake in the title until you pointed it out. Just frustrating for myself sometimes. I preview every post, especially if I'm typing on my iPad or iPhone. Things are easier on my MacBook and using a physical keyboard.
Between typos, autocorrect and my own dyslexia it can be an uphill battle. Lol.
 
Rereading the OP and the Star Wars references, while "Wars" has lots of ships in technically impressive creation, TMP also has its share of effects beauty - though thinking through the logistics of Spock's courier shuttle that Chekov is making odd guesses about, as to how the main pod that detaches from the nacelles (as prelude to saucer separation?) does the graceful turn, and how the occupant inside might be feeling a tad tipsy during it all, and as the nacelles shown suggest warp drive, is the warp engine within the courier pod itself, since the nacelle platform clearly has no room (based on scale) for warp core technology. Granted, the pod is much smaller and weighs less, and the amount of power needed would be considerably less...

Plus, possible nitpickery aside, the graceful elements are more realistic in terms of outer space physics.The lack of whiz-bang in this film is still refreshing, and it does have action (e.g. wormhole, transporter failure, etc.)

I also love how the 4K shows off the Enterprise's saucer's striped sections are actually rows of even thinner stripes between the solid light gray that can be briefly seen in some close-ups.

Also, do all the running lights really glow like that? The saucer registry insignia lighting has a different color cast/temperature compared to the ostensible source of light emission. And some adornments, e.g. rear nacelle registry insignia and "United Federation of Planets" stripe along the engineering section, also show no proven light source origin. Again, any nitpickery aside, the level of detail crafted in all the effects is meticulous and gorgeous.

So one less nitpick - the interior of the new ship, in 1-3 especially, really has a look of a ship. It's not relaxing, it's utilitarian and feels like it means business. Nor does it feel busy or overdone. To compare, the "D" does feel more relaxed, but doesn't feel like a cozy pub or alcove in a bar or shopping mall (circa 1979, I still miss the mall I went to as a kid, with the brick and woodwork and plants, before they renovated it all to be bland white.)
 
They were trying to ensure that the fans complaining about it not getting a separate release would identify what it was. A remastered SLV.

Technically, they could have done that either way - the main release vs director's edition vs the remastered broadcast edition vs "all three in one" could all have been sold separateky and have the potential to make more, depending on pricing after putting the numbers into the spreadsheet with estimated target audience. But as each release would require different packaging, etc, etc... "Special remastered version" sounds like something out of a certain 2006 sci-fi satire movie.
 
Does the remastered SLV fix the shot of Kirk exiting the Enterprise where you could see all the stage rafters and rigging? Or was the left in all its glory?
 
Technically, they could have done that either way - the main release vs director's edition vs the remastered broadcast edition vs "all three in one" could all have been sold separateky and have the potential to make more, depending on pricing after putting the numbers into the spreadsheet with estimated target audience. But as each release would require different packaging, etc, etc... "Special remastered version" sounds like something out of a certain 2006 sci-fi satire movie.

The DE team knew that Robert Wise was very annoyed that ABC was ever allowed to shove in any discarded footage they liked without the director's consent. So they were reluctant to release the SLV at all. Adding it to the theatrical via seamless branching, and finishing off that notorious missing piece of FX to cover up the studio rafters in Kirk's airlock scene, was all that they were prepared to do. Some fans were demanding a separate version to buy, but that was not appealing to the team and was perhaps even a threat to the commercial success of the 4K DE.

Does the remastered SLV fix the shot of Kirk exiting the Enterprise where you could see all the stage rafters and rigging? Or was the left in all its glory?

The team decided to fix that sequence with CGI.
 
To be honest, I'm kind of disappointed in that. It was a unique artifact of the SLV that I grew up with. Part of me wishes they'd left it.
The version we grew up with was cropped for televisions of the era, so the unfinished VFX in that shot were somewhat less noticeable. The Special, Longer Version in the "Complete Adventure" boxed set is presented in theatrical format for the first time, so the visible set would be far, far more visible, leading to the decision to finish the VFX in that shot.
 
The DE team knew that Robert Wise was very annoyed that ABC was ever allowed to shove in any discarded footage they liked without the director's consent. So they were reluctant to release the SLV at all. Adding it to the theatrical via seamless branching, and finishing off that notorious missing piece of FX to cover up the studio rafters in Kirk's airlock scene, was all that they were prepared to do. Some fans were demanding a separate version to buy, but that was not appealing to the team and was perhaps even a threat to the commercial success of the 4K DE.
Blimey. Thanks for the info!! I'm definitely glad it came out with all versions in one box, especially as I'm tempted to re-visit the director's cut, even if some of the changes were more interesting than others. (I really love the proper exterior shot of V'Ger in the DC. The revised red alert klaxon, not as much LOL...)

The team decided to fix that sequence with CGI.

I'd seen some fan work on youtube as well. Part of me, as a kid watching, wondered what the heck the studio scaffolding was at the time. But it was intended to be completed, so that added bit of work was (IMHO) a very pleasant finishing touch. For a movie that's been a source of argumentative drama amongst fans, the level of articulation for this release is nothing short of commendable, to say the least.
 
I will note that the theatrical release doesn't hold a candle to the Director's Cut. The pacing, the reaction cutaways from the endless V'GER flyover, the restored scenes, the music editing, and even the Foley (last night, I heard things I'd never noticed before), and the simple fact that it wasn't printed quite as dark as the theatrical release, were all so much better in the Director's Cut.

Watching it last night (and also digging out my VHS tape of the 143-minute version (essentially the network TV cut), the V'GER flyover reminded me of the slit-scanned "star-gate" sequence, from 2001: that would have been a combination of sensory overload and boredom, if Kubrick hadn't cut away to reaction shots of Bowman every so often.
 
I will note that the theatrical release doesn't hold a candle to the Director's Cut. The pacing, the reaction cutaways from the endless V'GER flyover, the restored scenes, the music editing, and even the Foley (last night, I heard things I'd never noticed before), and the simple fact that it wasn't printed quite as dark as the theatrical release, were all so much better in the Director's Cut.

Watching it last night (and also digging out my VHS tape of the 143-minute version (essentially the network TV cut), the V'GER flyover reminded me of the slit-scanned "star-gate" sequence, from 2001: that would have been a combination of sensory overload and boredom, if Kubrick hadn't cut away to reaction shots of Bowman every so often.
I much prefer the theatrical cut to the director's edition. To each his own.
 
I much prefer the theatrical cut to the director's edition. To each his own.

^^this

I'd recently rewatched the SLV and it flew by faster than a hummingbird on speed. Definitely to each their own, some of the tightening up on the director's edition, with completed effects as intended, certainly helps in other ways. That'll probably be my next watch, though I'm hoping I'm just misremembering the red alert klaxon noise... :D
 
I appreciate the attention to detail in TMP so much and I find it incredibly nuanced. I have always wanted to have a hybrid of DE and SLV and I have just (after 5 years) finished my hybrid 'Rand Cut' for my own personal use, merging the DE with most of the extra scenes from the SLV, plus some of the recently released outtakes.

In the end I used:

- Blu-ray of the new DE for the base
- Blu-ray of TC for the officer's lounge (I flip-flopped but decided on the original version) and I added Kirk's "Oh my God" as a voiceover to the empty transporter pad in the accident scene
- 4k SLV for the additional dialogue in the briefing, Sulu and Ilia on the bridge, McCoy coming aboard, McCoy and Kirk's extra dialogue in Kirk's quarters, V'Ger's attack, Uhura and McCoy's exchange about V'Ger's crew, Kirk's spacewalk, Chapel's reaction shot and Ilia's extra dialogue in her quarters, Kirk and McCoy's extra dialogue in sick bay, and Decker's dialogue about God on the bridge.
- From the anniversary bonus disc, I added the disintegrated security guard, and Kirk's exchange with Chekov in sick bay leading into Ilia in engineering.

I then tweaked a few other things, largely so I could use the rough outtakes of the Memory Wall from the extras, so that instead of Kirk and Spock, it is Kirk and Rand that enter V'Ger. I scraped around for dialogue from old episodes, movies, plus Grace's appearances in other shows, separated from the original music tracks using Spleeter, and a few lines of vocoded dialogue:

- Re-added original footage in the top left office in Starfleet to replace the duplicated footage
- Added bridge background noises to Sulu & Ilia scene.
- Used deepfake to add a line for Rand (taken from World Enough and Time) and a TOS musical overture for McCoy's entrance. Also vocoded extra dialogue for Rand so she says, "Permission granted, sir. Just like old times."
- Reduced the gap between "Why it's Mister..." "Spock!" This is tiny but it has always bugged me.
- Tweaked the V'Ger attack to bleed Uhura's dialogue into the next shots for pacing. Also added some very faint dialogue for Decker whose lips are moving in the background, and Rand's damage report from Flashback over comms just before Sulu's "The new screens held." The hardest part was getting the alarm to sound consistent.
- Added an exchange between McCoy and Chapel to include a version of a smutty joke that was in an early draft. Rotoscoped Chapel's SLV reaction shot from Ilia's quarters against a CGI shot of sick bay.
- Added a new shot in Kirk's quarters, cobbled together from the Kirk/McCoy quarters scene, rotoscoping Rand from the transporter accident and using Facefusion to establish her in Kirk's quarters while they watch Decker and Ilia, using dialogue taken from various TOS episodes.
- Took a shot of Kirk leaving the airlock and, used rotoscoping to change colour of his spacesuit to red/orange and Facefusion to replace Shatner with Grace Lee Whitney so that Rand is the first one to pursue Spock before he enters V'Ger, using dialogue from TOS and Grace's appearance in Death Valley Tales.
- Used a shot of Spock's original suit and Character Creator to create a CGI avatar of Rand and Facefusion to add a deepfake of Grace over the top to include a conversation between Kirk, Scotty, and Rand using dialogue from TOS, STV, and an episode of Gunsmoke. Vocoded a line for Shatner.
- Added dialogue between Kirk and Rand at the Memory Wall, plus three linking shots using Kirk's spacesuit from the spacewalk, rotoscoped and re-coloured, using a CGI/Deepfake Rand. Used the Cloud theme as the music track bleeding into the second half of Ilia in her quarters, so when she refers to 'two carbon units' it's because she has been tipped off by Kirk and Rand using a tricorder to locate Spock and not by Spock who had the sense to use momentum and visual observations only.
- A second shot of Spock passing through a second aperture into V'Ger's holodeck
- Rotoscoped Spock tumbling back into the inner chamber (with Kirk and Rand waiting instead of the Enterprise). Added a dialogue exchange between Kirk and Rand. Rotoscoped Kirk's original spacesuit over his new one for his close ups (except for the rear shot).
- Added Enterprise hum to the extra dialogue in sick bay.
- Added dialogue for 'three casualties' in the final scene. Located and added "Dickerson" as the name of the security guard as it was the closest I could get a voice match.
- Added a mid credit scene where the crew have a bit of banter as the ship flies by, taken from TOS, STV, and the Starfleet Academy game.

Admittedly, it doesn't all look and sound amazing to me, as I know every flaw by heart, but e.g. compared to the new officer's lounge scene or the original airlock scene, I would say my additions look good enough, and I have re-done the shots several times as technology changed and improved in the last 5 years.

I do find it very watchable. If anything, it is just the final scene at V'Ger's brain that I find really drags but I didn't feel confident to trim any of the many reaction shots. Also I would really have loved more of the aborted Memory Wall scene. I think with modern CGI, it might have been possible to do something with it, maybe with Rand using an EMP to save Kirk and that tipping off V'Ger.

I leaned heavily into using Rand partly because I wanted to include her in the second half of the movie but mostly because Grace guested in a lot of other shows, which gave me more dialogue to work with, whereas Doohan's and Koenig's other appearances would not have had the right accents. Plus, I thought it would make narrative sense, if trying to retrieve Spock, to want a transporter expert on hand. Also, TMP is often accused of being too sterile, lacking in camaraderie, and the previous connection between Kirk and Rand might help me to do that.

I've spent so long working on the extra dialogue, especially Rand's dialogue when McCoy comes on board that it feels wrong to me if I watch an official version without it!
 
I like the designs of other space objects quite a lot. I was looking for some 3D models of the travel pod and the orbital office and thought they would have been cool to see again. I love the Epsilon IX station and the comm chatter. The Klingon encounter. The world feels so big and weird. But one they get on the Enterprise it feels so claustrophobic.
 
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