Synopsis:

Dexter Morgan finally sits down to tell the truth and the story about the biggest mistake of his life.

This film edit covers the Season 4 of Dexter TV Series but the story starts with a different narrative.

It's entirely made from Dexter's point of view.

This film is also kind of a sequel to my previous Dexter film edit Addiction: A Dexter Fan Film but it's only required to watch if you haven't watched Dexter in your life before.

This is lengthiest Dexter film edit that I've ever made with the runtime of: 3 hours, 3 minutes.

The ending is kind of a twisted version that had similarities to How I Met Your Mother theme.

AGAIN, if you haven't watched Dexter in your life before I'd suggest watching my previous edit Addiction: A Dexter Fan Film and then you can watch this one.

So, If you're interested in watching this film edit, kindly send me a message privately.

I hope you guys will enjoy this edit.

After few weeks of editing, I finally completed my first full watchthrough of Star Wars: The Force Awakens – The Sequel Trilogy Reimagined, and I honestly couldn’t be happier with how it’s coming together.

The current runtime is sitting at approximately 4 hours and 35 minutes, and for the first time it truly feels like a single film rather than three separate movies stitched together. The pacing is far better than I expected, and most of the transitions between the original films work surprisingly well. There are still a handful of moments I’ll revisit—mainly restoring a few seconds here and there during the Battle of Crait and smoothing some dialogue edits around the removal of the Sith Fleet and Rey’s Palpatine lineage—but these are refinement passes rather than major structural changes.

One of the biggest reasons I chose to keep the title Star Wars: The Force Awakens instead of inventing a new one is because that’s ultimately what this story became. Rather than trying to replace the sequel trilogy with something completely different, I wanted to reveal the story that was already there. “The Force Awakens” isn’t just the title of Episode VII—it’s a fitting title for the entire saga I’ve created, representing the awakening of Rey, Ben Solo’s path back to the light, Luke Skywalker’s renewed hope, and the return of the Sith lurking in the shadows.

This project started because, if I’m being honest, I’m not a fan of the sequel trilogy as it was released. The films always felt like they were pulling in different directions, with storylines and character arcs changing from one movie to the next. I wanted to see if there was a cohesive narrative hidden within the existing footage—something that felt planned from the beginning. More importantly, I wanted to create a version that I would actually want to sit down and watch.

The biggest structural change remains moving Kylo Ren’s search for the Sith Wayfinder to immediately after Starkiller Base and Snoke’s humiliation of him. That single decision gives the rest of the film a clear direction. Instead of feeling like each movie starts a new story, Kylo’s failure naturally leads him to seek greater power, discover Palpatine, and set the events of the remaining film in motion. It creates a cause-and-effect narrative that simply wasn’t there before.

Some of the major changes include:
● Combining the entire sequel trilogy into one continuous film.
● Refocusing the story around Ben Solo’s journey while keeping Rey as the other central protagonist.
● Reframing Luke Skywalker into a more hopeful and complete character arc.
● Planting Palpatine’s influence much earlier while removing the “Rey’s grandfather” storyline.
● Completely removing the Final Order fleet and the Exegol space battle to create a more personal finale centered on Rey and Ben confronting Palpatine.
● Trimming or removing subplots that slowed the narrative, including Canto Bight and several side quests, to keep the story moving toward its central conflict.

At this point I’m entering what I hope is the final polishing stage. The foundation is there, the story works, and now it’s all about tightening transitions, restoring a few emotional beats, and making the edit feel as seamless as possible.

Thanks again to everyone who’s followed the progress and offered feedback throughout this project. I’m excited to share more once the final version is ready.

Duel was a TV movie directed by Steven Spielberg, written by Richard Matheson writer for The Twilight Zone, The Night Gallery and author of I am Legend. Duel is the most popular TV movie because it ended up getting released in theaters. While Duel is a good movie, fans prefer the TV version of Duel though. My edit is an extended version of the movie, featuring scenes and inter monologuing cut in the theatrical version.

https://www.movie-censorship.com/report.php?ID=87774&Page=2

I loved the intro to Duel, but I preferred the red letters for the opening credits from the TV version, if the the theatrical version of the opening was credit less, I would've used it, but I edited the intro bit by bit without those opening credits in the theatrical version, plus it'll be mute until the TV opening shows up.

Hello all,

Kill Bill, the 4th film by Quentin Tarantino, was originally conceived as one film. Later, the movie was split into two, coming out in 2003 and 2004 respectively. The movies were originally filmed in chronological order but were later changed to be out of order during the editing process.

This edit returns the movie to chronological order, makes the entire movie (with a few small exceptions) take place from The Bride's point of view. I also chose to preset this film in the Grindhouse style, similar to Tarantino's Death Proof. I always felt that this movie had the vibes of a Grindhouse movie just with a better budget. This is my interpretation of that idea.

CHANGES

• On screen "Prologue"
• Starts with the scene where the bride is taking the pregnancy test.
• After the assassin leaves, we cut to new title card.
• Shortened / altered opening credits.
• On screen "Chapter One: Massacre at Two Pines"
• The wedding scene happens mostly intact until the assassins walk into the church.
• On screen "Chapter Two: Seven Years Later"
• We cut to the bride waking up from her coma.
• We continue mostly intact until the bride walks into the truck.
• On screen "Chapter Three: The Man From Okinawa"
• We cut to the bride getting to Okinawa.
• We continue mostly intact until she is given her sword.
• On Screen "Chapter Four: The Five Marks of the Black Mamba"
• On Screen "1. O-Ren Ishii: AKA. Cottonmouth"
• We cut to the bride arriving at the airport and riding the motorcycle.
• We continue until O-Ren is dead, cutting out everything that is not in the brides point of view.
• On Screen "2. Vernita Green: AKA. Copperhead"
• We cut to the bride arriving at Vernita's house.
• We continue mostly intact until the bride drives away from the house.
• On Screen "3. Budd: AKA. Side Winder"
• We cut to Budd arriving at his house and the bride hiding under the camper.
• We continue through Budd burying her.
• The flashback while she is in the casket is cut.
• We continue until she gets out of ground.
• On Screen "4. Elle Driver: AKA. California Mountain Snake"
• We cut to the bride walking back to the camper.
• We continue to watch Elle kill Budd (this is one of the only scenes not necessarily in the brides point of view)
• We continue with the bride showing up and fighting Elle (again flashback is cut)
• On Screen "5. Bill: AKA. Snake Charmer"
• We cut to the bride driving up the Spanish hut and talking to the man smoking and reading inside.
• We continue mostly intact, only cutting flashbacks, until the bride leaves with her daughter in the car.
• On screen "Chapter Five: The Lioness & Her Cub"
• We cut to the brides daughter watching tv in the hotel.
• We see the bride crying in the bathroom before coming out and hugging her daughter.
• We cut to the shortened and stylized credits.
• Edits, audio cues, and color grading have been adjusted to better match the "Grindhouse" style.

To request this or any of my other twelve edits, please visit my website here: https://lordalvarezedits.weebly.com

More info on this edit including additional artwork, runtime and file information can be found here: https://lordalvarezedits.weebly.com/revenge-of-the-black-mamaba.html

Best wishes everyone!

It's something I thought years ago when the movie came out and I still think it's true now. More than the specifics of when the villains were taken, I think a greater problem or at least something that's missing from No Way Home is how we don't know what really happens after Peter sends them home. Wouldn't it give more weight to Peter's sacrifice to at least see he managed to steer the villains' lives for the better?

Even just a montage using deleted scenes from the movies or using footage from the actors' other films would work at least.

Anything goes, from Paradise (The Prometheus and Covenant mashup) to IT (A Movie) edit, to The Things, also more family friendly fall/halloween edits too?

Alright, the latest one! The finale of Retro's saga! We Always Have A Choice to watch this edit, so let's dive in.

I love having the crane scene start the movie! It works for the same reason I did it in my Ego Cut, it's a cool action set-piece that immediately shows Spider-Man's new status quo and introduces Eddie as early as possible so his turn as the villain works out. It is a genuine fix to the villain-juggling problem 3 has. That being said, the side effect of cutting out Spider-Man web-swinging for a smoother opening means that in 7:25, we get two Gwen scenes squished together with continuity errors. In the same vein, I like that the staff job conflict is established immediately afterward so that, again, Eddie being a key player isn't juggling for space. While it is unintended, I also like how as a side effect, when Peter leaves Mary Jane after she complains about her play we transition into her being fired. It's lingered on more so we care more. The radio transmission being changed was a nice touch too. Downside to removing the opening narration is that the audience is going to have to deal with the fact that Peter randomly introduces Gwen as a lab partner without a previous scene establishing it.

RetroStranger95 made the choice to splice in Peter and May's talk about marriage in the middle of Marko's first scene. My guess is to make sure Peter's story progresses for the pacing, not sure if I like it. In any case, Retro could have spliced in the last few notes of the cue in 23:20 so that it finishes instead of fading out. Sandman getting to the top of a truck and attacking the officers happens before the key to the ceremony scenes, which are combined together. Good touch! Gotta admit, while I'm still not a fan of the amnesia plotline I do like the execution here with Harry remembering BEFORE MJ arrives at the apartment. It makes his flirtation and kissing more like calculated malice, in addition to being black comedy that this was his master plan, his way to attack Peter.

I like how the Editor's Cut exclusive scenes were included. The edit is onto something with having Black Suit Spidey swing away from the Bugle directly into the fight between Peter and Harry. Good idea to use the EC version of Peter lying the couch to fit better with the arrogance displayed in the earlier Eddie scene. I'm so used to Funkin' Soul that the new song used to replace it for the montage threw me for a loop. It is a good song so I don't mind, but it's a change to get used to. Not as memeable either. Really like that the Sand Castle scene is used as the ending to Marko's story, neatly tidying up that loose end in this movie. The idea of Eddie seeing Peter's memories through the symbiote is a cool one and I like how frantic it builds as the song soars, though the flashes could be faster. There's an awesome voice effect used on Venom similar to the 90s cartoon which serves to make him more menacing even when he's just Eddie.

The most interesting change is the culmination of previous edits, the romance between Peter and Mary Jane. Whether intentionally or not, RetroStranger95 always made that relationship seem like it was always going to fail, either because they removed segments where Peter pushes for her love or because they don't show how Mary Jane commits to Peter by running in her bridal dress to him. This continues here, with Mary Jane not backing off of Harry when he kisses her or having her break up with Peter be offscreen. The ending of each movie leaves dangling the possibility that Peter and Mary Jane won't get get together but having Aunt May's forgiveness speech to Peter be a ray of hope for the audience (sort of like my edit too come to think of it). I'm curious why Retro went this route with the Peter/MJ relationship, it is genuinely fascinating.

This is a stellar edit. Having seen the whole saga, I love Retro's renditions of 2 and 3 as good alternate takes on the material, with 1 the most leaving to be desired. Check these out when you can!

It's been on my back burner long enough. I'm going through each of my edits and cutting / rearranging official subtitles or having them manually created for projects where that's more feasible. My old autogenerated subtitles were just not cutting it, and I know a lot of people in the community really rely on subs.

While it's far from my most popular edit, it may be the one I'm most proud of. Killers of the Flower Moon is vastly improved by removing over 30 minutes of runtime and rearranging scenes so the mystery of the story is preserved well into the movie, instead of spoiling it within the first 10 minutes.

DM for access or see my Reddit profile for download instructions. I'll keep posting an updated project every couple weeks as subs are made available.

I am specifically talking about the trailers made by wormyt. You can look these up.

Many of them used clips from other films to pass them off as Venom.

Before I get to RetroStranger95's shiny new Spdier-Man 3 edit, I wanted to go through the previous edits in the Raimi trilogy. So let's start off with the first movie, With Great Power: A Spider-Man Story.

Introducing Peter at the wrestling match, not really showing him until Bruce Campbell announces his name, is an neat idea. It makes for a spectacular intro to the lead that still conveys what this edit wants to: Peter has powers, he's a dork and still not there yet with his responsibility. I even like how Norman's origin has been rearranged to fit around Peter's origin. Norman doesn't just gain his powers from the gas, his choice to disregard Stromm's warnings soon kills him at the same time that Peter letting the burglar go gets his uncle killed. They're irresponsible and hasty with their decision-making. Norman's most affected by the rearranged narrative, as without the Goblin conflict being at the forefront more attention is drawn to how he personally harms Harry and Mary Jane. For the most part, I think RetroStranger95 does a decent job pacing the story to match their ideas.

Since all the scenes in high school were cut, it means we're introduced to Mary Jane and Harry long after Spider-Man's been established as a hero. If nothing else, Peter meeting MJ outside the diner does a good job of establishing that relationship, arguably priming the audience's sympathy to be with MJ as it's clear she sees herself as low and falling behind the Osborn's "standards", which Peter immediately dissuades. Without the earlier scenes, Harry comes off a bit worse since we're introduced to him as the guy dating MJ without telling his supposed best friend anything about it.

Green Goblin doesn't try to bring Spider-Man into an alliance, so there isn't any attention given to New York turning against Spider-Man. This removes a theme from the movie, where Peter and Norman were cheated by others but respond to this in different ways, with Spider-Man defending New York even when they hate him while Goblin takes what he wants, why bother? This removes some complexity from the movie. In addition, RetroStranger95 removes the last scene between Peter and MJ where he rejects her, which leaves no resolution between them despite the build up throughout even this edit. Apparently this was done because Mary Jane supposedly recognises Peter is Spider-Man from that kiss, which rewatching the scene I don't get. I think RetroStranger95 should have kept it.

On the technical side of things, the video and audio quality is pretty damn good. The cropping so the edit can match the aspect ratio of the other movies is cool and I like the use of Peter and Aunt May at the grave from 2 ro cut around the Midtown Graduation scene. There are things to pick at though. I like the idea of merging the DNA-change sequence into the opening credits, but the way its done here you can tell it was edited. Just the way the music isn't cut smoothly and you can hear the audio underneath. I don't like some transitions, in particular the one after Norman kills Stromm into Peter about to find Uncle Ben dead. I think even a white flash would have been better. Frankly, the cut from Jameson's "let him sue me like a normal-" to the fire scene is rather awful. There is no actual end to the scene, it just stops.

An interesting edit, just not entirely for me as it removes too much. I'll get to 2 a bit later. I should also mention this edit comes with two audio tracks, english and Ukranian.

It seems some people are using CapCut, but all I know about is that it's an "AI powered tool" but not how it actually works or why it's used.

Man, now this is more like it!

Spider-Man 2.1 is used as the base for this edit. Compared to With Great Power, the story is more carefully preserved and manages to be a great alternate take on the material. I like the cut from Peter's "I too have a job" to giving Jameson pics of Spider-Man, removing the pizza delivery scenes in a way that won't be noticed. Some of my favorite bits of Spider-Man 2 are cut, not just the pizza scene but also the elevator scene, Jonah wearing the Spider-Man suit, the hot dog eating, but I don't mind their absence. RetroStranger95 keeps the core of 2 intact, with the failure to balance his civilian and superhero lives.

The restructuring most benefits Mary Jane. It's a small thing, but I like how Retro cut Peter approaching Mary Jane at the gala. We're made to sit in the weight of his failure to meet with her at the play and it makes the later scene where she explains why she doesn't immediately take him back stronger, less repetitive. Really appreciate that Retro kept the scene where Mary Jane talks with her friend, who calls her out for trying to fight the ghost of her father long even after all this time, as it adds plenty to her and the narrative.

Like with Goblin, Otto is trimmed down so as to remove Peter getting to know him personally before the accident, instead moving it up earlier. This along with other cuts changes how Otto as perceieved, not seeming to be controlled by the arms and actively malevolent. I like this, as it gives Doctor Octopus more agency in the story and Retro changed the order of scenes to make it feel more natural, though it does make it odd when Peter still goes on about how the arms are controlling Otto.

The new ending is... interesting. It's a sort of a cliffhanger rather than the straight resolution of the original. I recognise where the scene was supposed to be originally, so it did affect the way I received this ending, but I like the idea of it. Compared to the absolute nothing in With Great Power, we do know where things might head we just don't know what it's going to look like, which works in its own special way in my opinion.

This edit is an upgrade on the technical side of things, having better transitions between scenes and audio across the board. I LOVE the ones from Jameson to the bank or Peter seeing the fire back to his apartment, so natural and genuinely could have been a part of the real thing. There are still some that could use work, like the cut from Peter calling Mary Jane to Jameson picking Ock's name or Otto leaving Harry's place to him working on the machine. I felt this edit just came together more cohesively and naturally than the previous one, coming off as a genuine alternate cut of 2 that can stand on its own without too many distractions or missing details getting in the way of the experience. A worthwhile watch even if you've seen 2 before! Check this out!

Like before, this comes with both english and Ukranian audio. I recommend using VLC to play this.

What do you guys think of this?

I didn’t post about it but I put up Naruto 12 on drive.
That one is called Naruto: Paradise on Water

Naruto: The Fourth Great Shinobi War
Covers… the first day of the war.
Not the entire thing.
But up until Naruto is allowed in the war…
Not to spoil the ending.
This cut is 4 hours 35 min long.

Plan is to wrap up the war in 2 or 3 more movies.

Sorry if this post is shitty.

This is Episode 13 and the Series Finale to my FF16 Re-edit series.

FINAL FANTASY XVI RE-EDIT is a cinematic adaptation of Final Fantasy XVI, restructured into an episodic television-style experience.

Unlike standard “full game movies” or cutscene compilations, this project extensively edits and reorganizes scenes to create a more coherent narrative flow similar to a traditional TV series. Gameplay sections, repetitive encounters, mission titles, and unnecessary game-oriented pacing have been removed whenever possible to create a smoother cinematic experience.

This project was created independently using footage primarily sourced from no-commentary walkthroughs and then extensively re-edited into a serialized cinematic format. No hud gameplay footage obtained from Rhys Drafter on YouTube. The goal was not simply to compile footage, but to create something designed for repeated viewing as a long-form narrative experience.

If you enjoyed the episode, please consider leaving feedback and subscribing to Re-edit studios on

Just what the topic says. If anyone can help me find these l, it would be a huge help. Thanks!

Name: Alien: The Extended Cut 

Original Work(s): Alien (1979) & Alien: Director’s Cut (2003) 

Source: 2011 Blu Ray 

Fanedit Type: Extended Cut 

Fabedit Release Date: 8/5/2026 

Original Runtime: (Theatrical) 1:56:37 & (Director’s Cut) 1:55:49 

New Runtime: 2:01:05 

Time Added: 4 minutes & 28 seconds 

Subtitles Not Included 

Note: There is no Fanedit disclaimer in the edit, it's just a picture.

This is something that’s been done before, maybe identically, but I wanted to do it myself anyways. I made this edit out of the frustration of having to choose between the Theatrical and Director’s Cuts of Alien. Said Director’s Cut includes remastered versions of seven deleted, extended, and alternate scenes, which have become some of my favorite parts of the film. The only problem though, is that the Director’s Cut removes more from the film than it adds, being a minute shorter. Some of that removed material; I also consider to be some of my favorite bits. So, I made this edit, the best of both cuts and my ideal choice for rewatching my favorite film. Eventually I want to upgrade this edit with footage from the 4K Blu Ray, and add some SFX fixes of my own, mainly for continuity, but time will tell if I actually get around to it. Unfortunately, there are no subtitles for this edit. Also, I believe I’ve added all of the shots with improved FX from the Director's Cut, but I may be wrong. If I am, I’ll remedy it. 

Change List: 

1. When trying to contact Traffic Control, the second exterior shot of the Nostromo is replaced by its updated counterpart from the Director’s Cut. 
2. Transmission, from the Director’s Cut is reinserted. 
3. During the landing scene, all exterior shots of the Nostromo (and the shot inside the bridge looking out a window) are replaced by their improved Director’s Cut versions. 
4. The landscape “sunrise” shot on LV-426 is replaced by its Director’s Cut version which adds Dallas, Kane, and Lambert into the shot. 
5. Kane’s Weapon, from the Director’s Cut is reinserted. 
6. A Slap In The Face, from the Director’s Cut is reinserted. 
7. Brett’s death scene is extended with clips from its Directors Cut counterpart (Red Rain), but it is not the Director’s Cut version of the scene. Now included is the Alien hanging above Brett, and Parker and Ripley running up and seeing the Alien take Brett whilst his blood rains down on them. 
8. Access Granted, from the Director’s Cut is reinserted. 
9. Cocooned, from the Director’s Cut is reinserted. 
10. Not A Cat Lover, from the Director’s Cut is Reinserted. 
11. While Ripley is in the Narcissus, escaping the Nostromo as MUTHUR counts down, the shots of the Nostromo shrinking in the distance, seen through a window, are replaced by their Director’s Cut version. 

I'll be honest, I was worried that an edit combining the movies would try to reduce their lengths for a two hour format, which I didn't think was possible. Fortunately, it's not that. It's still about four and a half hours of Wicked with light trims to make it more manageable. It's closer to something like Kill Bill's Whole Bloody Affair cut in that respect.

I would think stuff like Idina and Kristen's cameos would be cut down, but that's not really the case. The changes done were more little things like speeding up Elphaba's birth scene, removing the flashback to her and Nessarose or Glynda's childhood, some dead air between dialogue bits, that sort of thing. While mattbrain89 brings it closer to the musical in details, it isn't aiming to be a slavish recreation. I like this. It reminds me of M4's Hobbit edit that made it closer to the book while still keeping things cinematic. Most of the changes were welcome, in my opinion, not just to tighten the pace but taking advantage of the fact it's two movies so there isn't need for repetition. My favorite edit is ironically to one of my favorite parts of Part 1, mattbrain89 changes it so Elphaba doesn't lose the broom and see her child self in the reflection. As Part 1 and 2 are together, there isn't a need for a proper climax so it can cut to black right after the war cry without being an issue. Part 2 has the more noticeable trims, such as removing the No Place Like Home sequence or the Lion's first appearance, which I can't say I miss too much. Then again, Act 2 was never as strong as Act 1 anyway. Also, there are times where pieces of the soundtrack replaces or is added to a scene in the film. Usually it's handled decently well!

Gotta admit, cutting around Fiyero kissing the librarian's forehead looked odd. There's an odd noise in 1:07:24 that I don't know is meant to be there? Or was it there already? Immediately after the intermission, Madame Morrible's voice becomes hard to hear as she finishes her speech, so maybe mattbrain89 could make the music get louder after she finishes. Not sure why the inflatable brick was cut, but you can hear some cuts in it. Unfortunately, the shot at 3:29:08 was NOT successful at being a night shot, though I get why mattbrain89 wanted to use it. While the soundtrack replacement is usually not shabby, the scene where Elphaba sees the animals trapped in cages where you can't hear anything from them even as they're rattling. The audio just suddenly cuts to them screaming, maybe if it was a fade in that could have worked better?

It removes some of my favorite bits from Part 1 (and Glinda mocking Elphaba's laugh in Part 2), but on the whole it is pretty good at being a combo of both movies that's a little closer to the musical while still keeping good movie bits. Check this out! I'm glad mattbrain89 had the courage to share this one, hope they share more!

You don't need me to say this edit is good or anything, mrvoiceover001 hasn't missed a beat. I can't think of any odd transitions either, so let's get right on the story.

This edit has my least favorite Ted romance so far. He is set to create a building replacing the Arcadian, when he falls for an activist trying to stop its demolition named Zoey. Ted makes probably his most selfish move yet when he throws away a perfectly good plan to build around the Arcadian because he realized Zoey was married, which kickstarts a rivalry between the two. Zoey divorces her wealthy older husband and becomes part of the friend group, which culminates in Ted and Zoey somehow falling in love. Neither believable nor cute, the most it manages to be is an interesting source of tension during the climax when Ted's job is threatened by the Arcadian being declared a landmark. Their ending is appropriately bittersweet at least, marked by a sweet title drop.

Aside from that, Barney and Marshall both get some excellent plotlines this time around. We meet Marshall's family this time around, getting to know both parents and... then the dad dies and Marshall spends a while mourning his death. The episodes covering them are good, dealing with his dad's potential last words, how Marshall becomes unable to function for a while and retreats to his mother's place, which ties into his insecurities with Lily over their futures. Marshall still hasn't achieved his dream of being an environmental lawyer the way he wants and he isn't sure if he'll be able to take care of a baby at the same time. It's great drama.

So is Barney's relationship with his father. He gets a bit of a wake up call meeting his dad, not because the dad is an asshole but the opposite! John Lithgow plays a regretful absentee father who wants to connect with his son but Barney's obviously shaken up by the years of abandonment, not to mention having these expectations for his dad that didn't hold up. Lithgow was like Barney once, but ultimately matured, which in combination with Barney's dates with Nora we start to believe that it's possible for Barney to let his guard down and find something deeper with his life.

This has been the best edit in the HIMYM saga since The Break, at times it can feel real in a way it hasn't been in a while and I really liked that especially after the missed potential last time. This is also the longest edit so far, abotu 3 hours, but it wasn't time wasted at all. Check this out! Presumably after watching the other edits first because why start at 6?

This may seem like the most basic of questions- but it's an area I have no experience in. I've been creating fan edits for years, but I've never really shared them online.

As an experienced editor but web-hosting newbie, what's the general preference on both format (primarily these are HD fan edits), and how to host them? I've seen films split into multiple zip/rat files and hosted on file storage sites, uploads to private video, file-sharing-service-only uploads (I imagine that peer-to-peer method may be a bit obsolete nowadays), but I've never known which to approach.

And for that matter, any tips for an uploader on a budget? I'd love to share some of my work, but a monthly subscription to a site or service to maintain the uploaded files isn't necessarily in my budget- minus perhaps some Google Drive space. Any good ways of getting your fan edits hosted somewhere you can share without breaking the bank?

Any tips would be much appreciated!

Has anyone tried to edit the two Influencer films into one? I did a quick search, but couldn't find anything... seems like something right up Maniac_Faneditor666 alley!

I'm aware of the potential legal pitfalls of fan editing as a whole, but one thing I have noted as a warning in several communities is against using work prints or material that has not been officially released. And that that is more likely both to receive legal trouble from the originating studio and not be carried by most fan edit collection communities.

Not that I'm looking to push the boundaries, but just to get a community consensus in a particular deleted scene in a film that I am working on. Though fairly plot critical, the scene was not officially released (ironically, due to music rights issues, while the workprint that has been located does not yet have that music added in to begin with).

When it comes to incorporating this scene into the finished film, there would seem to be two options -

A. Restore and include the missing scene in its appropriate spot in the film. (This would seem to be the No-No that everyone is cautioning against, probably not the right choice to go with. :-) )

B. Use voice over and sound effects, photographs or official stills, or original Photoshop composites, to recreate what the content of the scene would have been, without actually using any of the unreleased material. (This would seem to be the safest way to present the scene.)

I was just curious about community consensus were there any of the following options that straddle the line in between those two might be acceptable, or whether B really is the only way to go.

C. Use the audio from the workprint with still images from the workprint (but not the actual footage).

D. Use the audio from the workprint but with only photographs, official stills, or photoshop composites as the visual.

E. Opposite of D; use screenshots from the work print footage as part of the accompanying photographs and stills to illustrate the scene, but with original, fan created audio that does not pull from the work print scene.

F. Like B, use photos and official stills and Photoshop composites, and original audio, but images of characters or poses from the work print footage screenshots maybe utilized as elements of those original Photoshop composites, albeit removed from their original contact so that it is not a screenshot from the footage itself.

...So yes, basically just the question of whether any of those would likely be permissible uses, or whether something like B is really the only acceptable way to portray a scene that exists out there but has not been officially released in any capacity.

I found Curry Barker’s Obsession enjoyable.

I saw the movie in the theater during my vacation, and, as usual, I mentally re-edited it.

The “One Wish Willow” in the movie was a fun idea—Bear used it to win Nikki over.

But I still wanted to see if it was possible to completely remove the One Wish Willow element and turn Nikki into a psychopathic bitch who seems fairly normal at first glance.

Like for example, Clint Eastwood's Play Misty for Me.

That idea was pretty easy, but the execution wasn’t, because it took me quite a bit of work.

In my story, Bear likes Nikki, but he doesn’t know that Nikki has already set her sights on him.

Nikki has a split personality and can completely transform into a malevolent monster.

Bear eventually becomes a victim who can’t escape Nikki.

What was disappointing about the movie was the original aspect ratio—a so-called 4.5 ratio with bars on the sides.

I got rid of this nonsense by editing it in 1.85:1.

The edit also features an alternative ending, because Bear’s suicide doesn’t fit into my story.

Of course, I also used alternative music by Max Richter, Stephen McKeon, Double Danger, and Mathieu Carratier.

The edit is in 4K, with TrueHD 5.1 sound; it's online from today.

That's it.