I don’t know about the decision-making behind the overuse of The Volume, but it clearly wasn’t pushed as hard in Andor, which balances location shooting and The Volume with more nuance. Sometimes it’s awkward blocking, and other times it’s stilted action that lacks urgency and realism. But in Obi-Wan Kenobi, too much time on The Volume results in a number of scenes that just feel off. The 360-degree virtual soundstage can produce true magic at times, of which season three of The Mandalorian has been an example. And then there are locations, which can often feel either generic, small, or unintentionally claustrophobic.īut the real culprit behind the look of the show isn’t director Deborah Chow or even a lack of money - it’s the over-reliance on The Volume. There are more than a handful of moments of slapdash CGI, for sure, whether it’s Vader’s ship-tearing scene or a variety of daytime vehicle shots throughout the show. But there’s no question it suffers from some subpar production issues. It’s absurd to think that the show that would bring back Ewen McGregor and Hayden Christensen couldn’t garner some more behind-the-scenes support - especially for something that had been in the works for this long. Unfortunately, I love the show in spite of its sometimes glaring lack of production value. The first and last acts in particular, and how the focus is on Obi-Wan and the building adventure, especially throughout the first few episodes. The shoddy production values of Obi-Wan Kenobi Image used with permission by copyright holder
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