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Shrek Forever After. 3D

Now I can safely say that computer-animated films always look great on 3D. Always. Computer-animated flicks do not have the problem of 2D to 3D conversion. It has something to do with the rendering. I'm not going to expound, as it may all be meaningless technical jargon to the non-filmmakers.

Anyway, we go first to the 3D-ness of this film. I mentioned in Cloudy with a Chance of Meatballs about deep focus lenses and what not. Apparently, this is only practical for 3D films that were intended solely for a 3D release, like U2 3D. I forgot that Hollywood is a money-making machine, so that means 3D releases have 2D equivalents, except in very rare instances. So since deep focus lenses would look...un-artistic...in 2D, then I say fine, don't use deep focus lenses.

They did use dissolves here, but they were too short in my opinion. The minimum dissolve length should be five seconds. That's from an editor's point of view.

Now, on to the regular review.

Shrek Forever After seems like the final installment for the franchise. Well I do hope so. The end credits had a "the best of Shrek" kind of theme. And I hope they don't do a Disney and extend the franchise to home video releases.

Same old, same old. Same use of pop songs. Same annoying voice of Eddie Murphy. Same annoying Scottish accent of Mike Myers. Same allusions to classic fairy tales.

But it did give us something new though. First is the Pied Piper. I think he's the coolest villain in the Shrek franchise, even if he got very little screen time, and no dialogue at all (of course, his character doesn't talk). Second is Jane Lynch as one of the voices. And third is Antonio Banderas singing Bob Marley's "One Love".

*some info from IMDb
pic from celebritywonder.com

Shrek Forever After. USA. 2010.

Rating: Six and a half out of ten.
3D-ness: Eight out of ten.
Antonio Banderas singing "One Love": Nine out of ten.


Unknown said...

Use of render farms isn't and shouldn't be just restricted to large studios and 3D artists. Smaller studios have their own render farms and many freelance artists have them as well. Compositors and freelance motion-graphics artists can also make use of them. Some editing systems support the use of additional machines called render nodes to accelerate rendering, and this type of setup can be extended to architectural visualization and even digital audio workstations.
for more info google out renderrocket

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