Also burned in a little vibrancy with it's layer filter – Just to get a pop out of the dull fogginess that the FC grading had given it. The sun however wasn't as vibrant as it was in the DC, so I used a simple orange coloured circular overlay which was feathered to suit and used it over the suns' changing position across the three wide/medium shots. The FC shots were smoother and they also had much more light playing into the stage wings on the wide shots, showing up the owl noticeably more. The DC footage for these shots generally had very coarse grain/noise. Also added a little reverb to Leon's, Zhora's and Pris' introductions.Īll shots looking into the sun in Tyrells office are from the FC graded to suit the DC except for Deckard's introduction close up as the posterisation was worse in the FC. The center channel has been replaced with the DC version and the external shots for the spinner journeys to the police precinct, to the Tyrell Corporation and to Leon's hotel is footage from the FC & regraded to match the DC.īryant's over dub about “Skin jobs” has been tweaked to better suit the room's reverb ambience with a little pitch, reverb and EQ. The spinner journey to the police precinct and to the Tyrell building - The cityspeak over the comms has been removed. Audio cuts from and back to the FC seamlessly before any left/right/centre channel dialogue starts.
#Leon the professional the directors cut torrent plus#
Holden's eye plus all external views approaching the Tyrell Building are from the FC & regraded to match the DC-ĭeckard Intro and Noodle Scene is from the DC. Opening crawl and titles are from DC as the FC titles are larger and poorly rendered with stepping visible in the curves. Opening Ladd logo is from the FC and graded to match the Director's Cut (DC). The audio for this edit defaults to the Final Cut (FC) mix, except where previous audio mixes are preferred or dictated by edits to previous cuts. Instead this film is content to literally study/contrast the philosophical state of all the humanity on display or lack thereof from all participants. This version takes out any connection to references made by Scott in interviews and indeed the Director's Cut relating to Deckard's origins.
The film's narrative follows more closely the Workprint and tacitly rejects Ridley Scott's attempts to render the human/replicant philosophical analogue as effectively superficial. Most notable inclusions are the technical updates from The Final Cut, with the visual elements re-graded to match the legacy colour tones of the previous releases - and particular attention being paid to literally preserving the original portions of the legacy frames as well as grading the changes where masking was appropriate. This edit includes various visual and audio elements from all released versions of Blade Runner in an attempt to make it the best available presentation with a few narrative edits for personal preference.
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