As a number of factions emerge – violently vying for power – you become the sole defender of humanity’s last standing government. In a flooded future world rife with violence, rumors of killer machines have spread far and wide. It might have all just been luck, but there was no matching the feeling of almost being sure you’d lose, to coming up victorious.” Rushing over to my party member also put me at a perfect angle to get a good shot in, which happened to be a critical shot taking them out as well. One enemy moves and gets shot, takes them out, we’re at even footing now. Lucking out with an enemy missing, I can rush over to my downed party member, who I instruct to aim and wait to shoot if someone moves near the opened door. It’s a stand off, I’m outnumbered, I have an item to revive a party member, but they’re across an open door where the opposition can shoot at me. “It wasn’t until a certain firefight that it really clicked for me. “Not everyone will love Depth of Extinction's open-ended campaign as much as I did but it's a top-notch SRPG no matter how you slice it.”
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Just skip the 3D ticket and instead opt for good ol’ 2DĬlick to visit our full To 3D Or Not To 3D Archive.“One of the most detailed and immersive turn-based strategy games I have come across” It certainly made Michael Bay’s latest film easier to watch, but is not a method I'd recommend.
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When my eyes wouldn't focus, I closed one to watch the movie in DIY 2D for a bit. Added onto everything else, it became an obstacle to focus on this action-stuffed adventure. Certainly not helping things is that Bay's use of lens flares is literally painful in 3D, as the light doesn't only shine bright, but seems to be directly targeted at the audience and their retinas.įinal Verdict: If you're looking for some spectacle, Transformers: Age of Extinction will deliver with big battles, lots of destruction, and various eye candy. Bay is a big fan of swish pans, and moving his camera in elaborate choreography, but with dueling planes in my right and left eye, my vision couldn't always keep up. I actually had repeated troubles focusing on Transformers: Age of Extinction as a result. Running this rudimentary test a couple of times in Transformers: Age of Extinction, I did observe a good amount of blur, but as there's a lot of smoke, and blank backgrounds of open sky, the 3D often felt cut off by Bay's aesthetic.īad 3D can be bad for you, causing nausea, headaches and/or eyestrain. Remove your 3D glasses observe the blur, and you can see just how many levels of depth the movie is employing at any given moment.
This is a very simplistic way of seeing how much 3D you're getting in a given scene. It’s possible that this is because most of the movie seems to take place during magic hour, but nonetheless, it's never too dark to make out what's going on, whatever the setting. Honestly, Transformers: Age of Extinction actually does this perfectly.
To combat this, 3D prints must be adjusted accordingly. Those 3D glasses make 3D pop, but also make the movie darker.
An overhead shot looking down, down, down to the streets many stories below is shocking, and actually better sells their plight than a 2D version would. One scene where Beyond The Window does have impact involves the human heroes scuttling down some thick wires, making their way from a spaceship to a skyscraper. There are scenes of sprawling valleys, cavernous space ships, and bustling cities, but by and large the added depth is barely noticeable because Bay's camera is so often in motion. Unfortunately, Bay's fondness for very tight close-ups truncates much of this option's use. Sadly, that's about it.Ĭonversely, this is the aspect of 3D that reaches beyond the screen, giving a deeper sense of depth to the film's world. And the opening credits penetrate into the theater. Unfortunately, for all its robot battles, flying metal, explosions and hurled debris, very little noticeably breaks out in Transformers: Age of Extinction. This is that element of 3D that seems to reach right out into the theater. I won't pretend that I could pick out what scenes where shot in 3D and which were post-converted. Or at least with a budget of $165 million, you'd assume so. You can bet that a great deal of care was put into both the in-camera 3D and the post-converted. For Transformers: Age of Extinction, he did the same, though this time the 3D cameras he employed are a new smaller digital IMAX camera. For that film, Bay shot sections of the film in 2D with a 3D post-convert, and others in 3D. Bay is no newbie to 3D, as Transformers: Dark of the Moon was the first in the franchise to go with the added dimension.
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