After a nearly 5 years of meticulous work from the team over at Project A34K, the much anticipated Alien 3 – The Legacy Cut is now available! For those of you out there who are wondering what we’re talking about, The Legacy Cut is a fan edit of Alien 3 that aimed to upscale the film to 4K resolution and to finally do the film’s creature effects justice. Just that effort alone involved going frame by frame to trace around the puppet.
Check out Alien 3 – The Legacy Cut’s release trailer below!
In addition to changes to the colour grading, the Alien’s visual effects and some environmental tidying, Alien 3 – The Legacy Cut is also a slight blending of both the generally much preferred Assembly Cut and Theatrical Cut of Alien 3 which keeps the additional footage of the Assembly and Spike/the dogburster from the Theatrical Cut. There are also some additional narrative tweaks including changes to the opening credits to remove the facehugger.
Be sure to head on over to www.a34k.net to check out further details about Project A34K’s fantastic work on this new fan cut, including before and afters so you can see this impressive work side-by-side with the original! You can also request a copy of the film through the form on the home page.
Be sure to keep your targets set on Alien vs. Predator Galaxy for all the latest updates on Alien & Predator fan projects! You can follow us on Facebook, X, Instagram, Threads, Bluesky, and YouTube to get the latest on your social media walls. You can also join in with fellow Alien and Predator fans on our forums.
The only real criticism I personally have against the new cut (which is otherwise brilliant) are the replaced sound effects, especially of the creature which is extremely noticable to me and sticks out like a sore thumb. The Alien Isolation, and to some of extent, the Aliens, creature sound effects just feel wrong to me in here.
That's just my biggest nitpick, but the comping of the rod puppet alone is absolutely incredible, of course.
Didn't mean to sound antagonistic - just, you bringing up random movies threw me away a bit.
Thanks for the recommendations about Alien (I already have those), but I wasn't really asking about Star Wars or the LOTR. Not sure what gave you that idea.
Anyway, from what I've read about the Legacy Cut on here, I've since asked the creators for a link. Alien 3 is one beautiful unpolished diamond, all its flaws included.
One thing I strongly disagree with A34K is his decision to cut out this incredible line by Dillon: "this is as good a place as any to take your first steps to heaven..."
Not only does it add to his character, but it is just so badass.
I'm guessing the reasoning behind its removal is the whole 'murderers and rapists' on one hand and the idea of 'heaven' on the other. But since one of the main points of the movie is redemption of humanity by the hands of its worst scum, something oddly profound is lost by removing this line.
Anyway...
But I also recommend the definitively unofficial "Final Cut" or 4K77/80/83 for Star Wars as well. LOTR's currently without one in my mind sadly, because they f**ked with the colours and smeared the whole thing in DNR and many resulting artifacts for the 4K.
I was wondering what the 'definitive' version of Alien is, in your mind?
The theatrical one? It's an incredible movie, but it's not without flaws (the horrible transition between Ian Holm and the prop head being one example).
Also, the extra scenes in the DC only add to the tension IMO (apart from the unexcusable cutting of certain scenes).
All in all, if you were to put the additional scenes of Lambert being actually useful + the original alien transmission + putting the cocoon scene (which adds to the worldbuilding) before the self-destruct sequence - I'd think that would round the movie up quite well, if only for those who are already fans.
'Leonenuts' did this 18 years ago, but there really isn't any version of the movie I could find anywhere.
I wonder if someone is willing to do something similar but in HD.
You can't 'get around' the copyright issue.
If they want to issue C&D notices, they can and will and they will win.
It's often not in their best interest however so they turn a blind eye. Generates bad blood among fans.
Apologies if you answered this before too.
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Breakdown begins from the starting position of using the Assembly cut. Change details will note when Assembly cut scenes have been removed / altered, and Theatrical cut elements have been added back in.
Breakdown will not include color adjustments as the entire movie has been regraded. Also will not include the removal of hundreds of frames at the beginning / ending of many shots to remove warping, or blemishes that have been cleaned, as they are too numerous to count.
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00:00:00 - Opening credits amended to remove all references to Facehugger and Egg aboard Sulaco. Multiple sound effects recreated as they were unable to be isolated from the score. Reduced opening credits length 3m.
00:03:20 - Shot of EEV drifting toward F161 reworked so that the glare of the planet doesn't shine through the EEV.
00:03:43 - Two shots of EEV crashing on F161. Low quality debris removed and EEV cleaned up. New, more realistic weather elements added in.
0:06:20 - EEV rescue scene re-edited. Using the structure and audio from the Assembly cut version, keeping the shots of Andrews typing and removing the blurbs identifying the passengers condition, while splicing in the internal EEV shots of the prisoners and passengers from the Theatrical cut version.
00:08:30 - EEV crane shot added from Theatrical cut. Low quality debris removed and more realistic weather elements added in. Shot shortened down to 6s. Scene with Spike and the Facehugger added back in.
00:08:50 - Crucifix / sunset shot amended. Low quality debris removed and more realistic weather elements added in.
00:16:03 - Theatrical cut scene re-added of Murphy discovering Spike, injured by the Facehugger.
00:16:51 - Audio bridge created between previous scene and the funeral scene introduction of Clemens and Ripley descending the steps. These scenes were mutually exclusive to each version of the film and the audio shift was jarring, so a sample from the score was used to bridge the two scenes seamlessly.
00:21:20 - Small edit made during autopsy so that first crunches of the sternum are heard and not seen, as the bone-saw was already covered in blood before Clemens used it. This way the first time the bone-saw is seen and covered in blood there is good reason for it.
00:24:32 - Assembly cut scene retained of Frank and Murphy discussing Ripley as it develops the characters and atmosphere, showing how the prisoners react to her presence, and shares information about their lives on the prison colony. Removed Queen Faehugger as it contradicts the dog being the host. Scene cuts off when Frank says "Treat a queen like a whore, and a whore like a queen. Can't go wrong". Reduced length 1m 35s.
00:26:08 - Shot of furnace turning on is amended. Low quality debris removed, new debris elements added in, bellow of smoke rising as furnace engages added in, furnace room now turns the same orange hue as later scene for continuity purposes.
00:26:15 - Funeral scene once again spliced with shots of Spike, instead of the ox.
00:28:50 - Birds-eye shot of Hicks and Newt's bodies falling into the furnace amended. The furnace now appears as active flames to maintain continuity with shots in the final scene.
00:29:05 - Two sound effects replaced. The newborn Xenomorph's head hitting the ground, and the afterbirth sliding off it's head and hitting the ground. Both previously were deep, heavy thuds, contributing to the perception of a large, heavy object. Changed in both cases to lighter, wetter 'splat' sound effects to better suggest smaller objects.
00:29:32 - In keeping with above sound amendments, the shot of the newborn Xenomorph standing for the first time, the Xeno has now been reduced in size by 50%. The chief objection with the dog host has often been that the Xenomorph comes out too big for having been inside the dog. Now it is more plausible and a realistic scale.
00:29:49 - Splash sound effect added as Ripley washes her hands as this was missing in both studio cuts.
00:38:08 - First instance of red POV masking. As Murphy leans into the broken duct, mistaking the Xenomorph for Spike, the shots staring back out have a red, high contrast filter applied, with volumetric lighting, and slight lens distortion to better match the POV shots in the final sequence. This was done to set up the POV shots for later in the movie.
00:39:25 - Audio amendment. Clemens odd grunt, after he tells Ripley "I have a job to do" has been removed.
00:40:47 - Scene where Clemens speaks to Aaron on the intercom has been amended. While Clemens part remains the same, Aaron's audio has been replaced with the audio from the workprint, as both the Assembly and Theatrical cuts had a continuity error with the vent shaft number, and what Andrews tells the prisoners later. This was not the case in the work print. Now both vent shaft numbers match. The audio from the workprint was isolated, fitted to the scene, and filters were applied to make it match with the existing scene.
00:48:38 - Amended score to junkyard scene. Sequence where Ripley finds Bishop remains the same, but the sequence where the four prisoners attack her has now been changed. The original score "wreckage and rape" has been removed, and replaced, using components from numerous other tracks on the score, stitched together in sync with what it happening on screen to present in a way that (in our opinion) better suits the tone of the scene. Tracks used for new score are 'First Attack', 'Clemens Dies', 'It's Started Pt. 2', and 'More Bait and Chase'.
00:54:52 - Added sound effect. Hissing snarl (sourced from Alien: Isolation) as Xenomorph jumps down and attacks prisoner Boggs.
00:55:13 - Special color amendment to the scene where Ripley first drops Bishop's torso on the table, specifically darkening the scene to better appear as the light is off, so there is a more appropriate contrast when she switches the lamp on. Previously there was very little difference to the lighting before and after the lamp being switched on, making it seem redundant.
01:07:35 - Xenomorph shot amended. Compositing of the Xenomorph as it approaches Ripley has been broken down and rebuilt. Xenomorph matte lines have been cleaned up, elements color corrected to better match background plate. Ripley's face cleared of severe blemishing. Shadow now cast on reflective surface of metal table as Xeno approaches. Xenomorph's (previously static) jaw now closes on approach to Ripley, and drool added to bottom jaw, both to match continuity with following close up shot.
01:07:59 - Sound effect (wet squeak) as Xenomorph drags Clemens body out of frame.
01:08:08 - Reduced shot of blood pouring out of ceiling vent. New length 2s.
01:10:00 - Added sound effect. Hissing snarl (sourced from Alien: Isolation) as Xenomorph jumps down and attacks Superintendent Andrews.
00:01:30 - Morse and Ripley exchange amended. First cut, Morse's ADR'd rant about the shortcomings of F161 trimmed down. Removing line "No freezers", so audio better syncs with lip movements. Second cut - Morse threatens Ripley "Why don't we take her head and shove it through the f**king wall". The line of dialogue Ripley responds with "Sounds good to me" has been removed, returning to the Theatrical cut structure.
01:15:46 - Dillon and Ripley exchange amended. Cut is made after Dillon reiterates the plan to Ripley, and she confirms "right". Dialogue removed where Dillon asks Ripley "Why should we put our asses on the line for you?" as this challenge contradicts him having just asked her to take charge.
01:19:00 - Vent shot amended. Where Ripley and Dillon look up after the flare has been dropped by prisoner Frank, the shot of the open vent on the ceiling was so dark it could barely be made out. A vent from another point in the movie has been repurposed and placed here, with dancing shadows to show the struggle above.
01:19:05 - Slow motion flare shots. Both shots of the flare falling have been dramatically cleaned up of blemishes and dust, and the aspect ratio has been adjusted to match the close up shot of the flare hitting the fuel and igniting the explosion, correcting the continuity error.
01:19:26 - Ripley and Dillon shot amended. Where they cast aside their mops and the explosion approaches, and Ripley shouts "get down". Compositing and severe blemishing has been fixed, and a glow effect has been added to the characters so they and the explosion better fit together in the shot.
01:20:40 - Numerous shots during explosion sequence have aspect ratio corrected to match the rest in the sequence.
01:21:37 - Xenomorph shot amended. Compositing of the Xenomorph as it crawls down has been broken down, matte lines cleaned up frame-by-frame, elements color corrected, and re-composited. Smoke effect from the flames has been added to better blend it with the background plate.
01:21:43 - 3x Xenomorph shots amended. Compositing of the Xenomorph as it stands off against junior has been broken down, matte lines cleaned up frame-by-frame, elements color corrected, and re-composited. In the first shot the Xenomorph's mouth now closes, adding to the sense of an autonomous creature and not a static puppet. Fourth shot of the Xenomorph chasing Junior into the tunnel has been completely removed.
01:29:23 - Added sound effects. Roaring snarls (sourced from Alien: Isolation) as Xenomorph attacks prisoner Golic.
01:29:31 - Shot removed of Xenomorph escaping waste tank after attacking prisoner Golic.
01:33:07 - Sound effect added. As Aaron approaches the EEV a hissing steam sound effect is added.
01:36:44 - Shot replaced. In the Assembly cut, as Dillion states "If you've got a blade, you take it out and you f**king use it" the actor Charles S Dutton breaks the fourth wall by briefly looking at the camera. This has been replaced by a shot of prisoner David looking down at his blade.
01:38:10 - Satellite shot amended. Low quality debris removed and more realistic weather elements added in. New length 8s.
01:41:24 - Eclipse shot amended. Compositing of the USCSS Patna approaching F161 has been updated and the entire planetary eclipse has been removed and replaced with a more up-to-date special effect. Solar flames and lens flares added, and starship has been color corrected to better blend elements within the shot.
01:44:50 - Ripley and Dillon exchange amended. Two lines of dialogue have been removed from the scene where Ripley asks Dillon to kill her. The first is the line "I could have been lunch", the second line is "it could wipe out the whole universe". Removal of these lines makes the scene a middle ground between the Assembly cut and Theatrical cut versions.
01:48:34 - Dillon's speech. Dillon's speech has been returned to the version from the Theatrical cut, foregoing the added lines of "this is as a good a place as any to take your first steps to heaven...". The elongated pause between Dillon's crescendo and Morse exclaiming "f**k it, let's go for it" has also been reduced slightly.
1:53:25 - The Theatrical cut scene of David and Jude discussing David's concern with the plan, and the short scene of Aaron reflecting in the mirror have also been added back in, edited and spliced in with the scene of William and Gregor contemplating is heaven is real.
01:55:28 - End sequence. In the final chase with the Xenomorph through the tunnels, there have been numerous aesthetic amendments made to the scene. This includes approximately 30 new Xenomorph sound effects - hisses, snarls, growls, and roars (sourced from Alien: Isolation), footstep running sound effects as the Xenomorph pursues the prisoners.
Sequence also includes 19 Xenomorph shots amended, compositing of the Xeno broken down, matte lines cleaned up frame-by-frame, elements color corrected, and re-composited.
Sequence also includes 32 POV shots amended with red, high contrast filter and volumetric lighting.
01:57:42 - Satellite shot amended. Low quality debris removed and more realistic weather elements added in. New length 6s.
02:00:44 - Amended shot of Weyland Yutani operatives approaching the prison station. Low quality debris removed and more realistic weather elements added in.
02:03:12 - Jude's death amended. The sequence where the Xenomorph pursues and kills prisoner Jude has enhanced special effects, now altering three shots in sequence, showing the alien impaling him with its tail, and using it to drag him out of shot. Amended audio effects for Jude's death, adding crunch and blood gurgle sound effects.
02:04:05 - Audio amendment, Gregor's death. When Gregor and Morse run through the mold and slam into each other, falling to the ground, Gregor exclaims "I thought you were that f**king beast" and "you bastard". These lines were badly ADR'd and don't sync, so they have been switched around so they match up with Gregor's lip movements.
02:04:31 - New Xenomorph shot. As the Xenomorph charges and kills Gregor, a new shot of the Xenomorph extending it's jaw is briefly shown (4 frames). This is a repurposed shot from when Dillon pulled Kevin away from the Xeno and it snapped it's jaws out. The shot has been rotated and color graded to match this sequence.
02:10:19 - Xenomorph shot amended. As water strikes the Xenomorph and its head cracks, steam has been added to the dome as it turns, masking the dated crack effect and bridging continuity with the following shot.
02:14:00 - Amended audio. The sound effects for when the Weyland Yutani operatives shoot Morse and later Aaron have been changed to now match the Pulse Rifle sound effect from Aliens (sourced from Alien: Colonial Marines)
02:15:25 - End sequence switches to Theatrical cut, keeping the close ups of Ripley, but removing the line "You're crazy" before Ripley's fall.
02:15:40 - Amended shots. Compositing for both of the shots of Ripley falling back into the furnace have been broken down and rebuilt. The shot of the Xenomorph bursting from her chest and the close up of her face. A new background has been created of the furnace, matte lines have been cleaned frame-by-frame, flickering effect has been removed. Ripley has been color corrected, and a new chest-burster animation has been created. Cinders and sparks and smoke effects have also been added.
02:15:55 - Shots of Weyland Yutani operatives and Bishop have been repurposed and placed here to shorten the final fall shot, creating a more even flow that syncs better with the score's crescendo. These shots show the above parties staring as Ripley falls.
02:16:00 - Brand new shot. A new special effect shot was purpose built for Ripley being consumed by the flames of the furnace. Model built by Paul, rigged by James, animated by Anna, background plate created by Martin, final shot composited by Chad.
02:16:08 - Shot of furnace turning off is amended. Low quality debris removed, new debris elements added in.
02:16:22 - New shot. Establishing shot of F161 from opening sequence has been repurposed to show the sunrise.
02:17:35 - End credits. Sequence has been amended to now show Lance Henriksen's character as 'Michael Bishop' instead of 'Bishop II', as character has red blood and is clearly not synthetic. Credit "Alien ³ - The Legacy Cut" added after initial cast.
We are really lucky as a fandom to have so many dedicated people that are giving their time to entertain us.
I'll still watch it on my desktop but just looking to see if I can add it to the Alien collection I already have.
Watching this and noticed the footage from the Legacy Cut, influence already taking shape it appears.
Thanks for everything, guys. We really appreciate all the support (and tough love) over the last few years. Blue, you're a star, Hicks and Ridgetop, we had a blast hanging with you the other day. lv_226, I look forward to reading your write up tomorrow, and thanks for the time you put into it.
Thanks everyone on here, you're too many too count and your interest and hype has kept us going.
Here's a couple of things we put together for 4/26. Slightly late in getting them up, but we've never been great with deadlines
Here's the scene we wanted to put in for a spell. It wasn't meant to be, but we thought you might still like to check it out.
And here's a showreel of all the color correction and effects updates in the final cut.
Enjoy, thanks again, and fly safe out there
This analysis represents a labor of love spanning over two years, now fully realized thanks to the meticulous work of Project A34K. Their concise synthesis of the Theatrical Cut and Assembly Cut of Alien 3 has provided much-needed editorial and modernization coherence to this often criticized third entry in one of cinema's most enduring franchises.
The Legacy Cut offers viewers a unique opportunity to experience Fincher's vision with enhanced clarity, allowing the film's profound theological dimensions to emerge more fully from what once seemed merely fractured narrative. Through this restoration, we can more clearly perceive Alien 3 not merely as troubled sequel but as substantive meditation on redemption, sacrifice, and the persistent possibility of meaning even in circumstances of absolute desolation.
This piece stands as testament not only to the film's enduring significance but to the power of dedicated fans whose commitment to preservation and restoration allows overlooked masterpieces to find new audiences and appreciation decades after their initial release.
I am not asking for money (unless you'd like to donate), but I would enjoy your readership.
Full read: Broken Vessels: Redemptive Suffering and Brutal Theology in David Fincher's Alien 3
https://mega.nz/folder/onxxhRpY#b6sZXiZZz_MFDFLOyjUi0A
First come, first served.
Absolutely. Personally I was forced to take the habit to "disrupt" words like r@pe, r^cism, transph0bia, f4scism etc in various ways because it is now common for all kinds of social networks to ban, shadowban or lock away user profiles and posts displaying such words.
And we don't always have the time to learn what's okay and what's not okay on every website, so better make it into an universal move.
It's sad but such is the garbage cyberpunk dystopia we live in.
AFAIK it's done to get past censor filters of commenting platforms (even if the words aren't outright censored, lots of places will automatically flag comments with these words for review [sometimes perpetually], likely because they're sometimes considered telltale signs of trolling/flaming), and it then just becomes a habit for some or they just do it pre-emptively to avoid TOS issues.
And I suppose others may do it for personal reasons but I don't judge where people decide to establish their own boundaries because I don't live in their shoes.
ALIENS' facehugger scurrying around sound and Skeletor popping his head out of the water to tell us he'd be back! (spoiler: he never came back) is why as a kid I learned to stay around until the end credits were completely done; long before the yoots of today with their
MST3KMarvel stingers.Also a long time ago I headcanoned (and inserted into my old highly-customized Leading Edge Games Alien rpg) the notion that facehuggers can go into a hibernation state if they can't find a victim right away, where they build up a smaller, egg-like cocoon around themselves, to explain the Sulaco egg (and it's weird position in the middle of seemingly nowhere near the hangar bay), and now it was all for naught.
Great work by the way.
Or use the theatrical cut with the dog which makes more sense since the alien is a runner.
It's Nerf or nuthin'
I also only would like the 720p version anyway.
Watched the Alien Theory review on YouTube instead.
Ah right. Cheers.
I have a vague recollection of this now from months back.
It is cool that you managed their approval, but much whinging for my liking, I might have rather had the official commentary or one by the people who actually made this iteration.
On the bright side, the options of four alternate tracks for audio's absolutely wonderful that aside.
The inclusion of the WAV file in particular's a standout, sounding better than many official releases.
Project A34K just considered removing the line specifying Dillon's crimes, and after some discussion with other fans, finally decided against it.
EDIT: Ninja'd by SiL.
As has been discussed repeatedly, even at the top of this page of the thread.
Nope. Apparently that's the problem. He hasn't been appropriately bowdlerized.
Haven't watched this - has something been changed about Dillon?
What the cut does is mostly aesthetic for sure. It's a special effects overhaul, color regrade resolution enhancement. Narratively it's a marriage of both existing versions. For sure the biggest draw for viewers seems to be the cleaned up sfx on the alien.
Regarding where the facehuggers came from, interesting fact, if you watch Aliens until the end of the credits, you can actually hear face huggers scuttling around inside the Sulaco. The egg never needed to be there. A sequel was already set up the entire time 🤷
But that's off topic so I'll get back on.
I am keen to see what this version of yours adds. The Assembly cut did give the prisoners some more screentime here and there, some parts fleshed out.
Removing the magic egg is already a plus in my book but then it does need to explain where the huggers came from, but then again them sneaking on board when the Queen did is not hard to imagine.
if you got 18,000 requests, how the heck are you going to get around answering everyone?
By the end he's rejected all of it and gives his life to save the people back on earth, no less than Ripley did. He was a r**ist and murderer of women, and in the course of the story he stopped the r**e of a woman with force, and would rather give his own life than take hers.
A bit of clarity helped me see it is all.
Glad you dug it, buddy
That's cool, to each their own
I'm really glad everyone is giving it a shot, though, and buzz around here helped. We're at about 18,000 requests now
Thanks for this smart and respectful message. I do agree that we won't find common ground, since we're working by different postulates, but I appreciate your perspective and this quick exchange with you was most pleasing.