A new Dawn of the Planet of the Apes teaser trailer has been released this week which shows a glimpse of the special effects that were used within the new movie to make the computer-generated apes look so realistic and follow the actors facial expressions. The video after the jump shows a first look at a split screen view showing the actors next to the final computer-generated ape rendering, and features Andy Serkis and Toby Kebbell as well as other members of the cast from the new movie sequel.
The Dawn Of The Planet Of The Apes movie will be launching in theatres world-wide on July 11th 2014 and has been directed by Matt Reeves. A new special effects featurette for Dawn of the Planet of the Apes has been released online (via IGN). In the featurette, director Matt Reeves and several others who worked on the film discuss the challenges and new technology used to bring the apes to life through the use of computer graphics and motion capture. In Dawn of the Planet of the Apes, a growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. Post-rendering you can hardly tell computers were involved, especially when the characters move. If we didn't know any better, we'd think Dawn Of The Planet Of The Apes was cast at a real-life zoo. This film, says computer graphics guru Paul Debevec, owes its roots to Andy Serkis's performance as Gollum in The Lord Of The Rings trilogy. In Dawn, WETA Digital, the same company that animated Gollum, created a host of characters from actors' motion-capture performances. Recensie Dawn of the Planet of the Apes (2014): Het tweede deel van deze prequel is net als deel een verbazingwekkend goed! Dawn of the Planet of the Apes brengt de verwachte special effects en actie, maar juist op intermenselijk, of interapelijk, vlak maakt deze film veel indruk!
Deze serie zijn de apen levensecht en aandoenlijk doordat ze inzoomen op de onderlinge relaties en familiebanden. Thanks to 20th Century Fox Australia we had the chance to see Matt Reeves‘ Dawn Of The Planet Of The Apes before its Australian cinematic release. Set a decade after the deadly ‘Simian flu’ pandemic, Dawn Of The Planet Of The Apes finds Ceasar as the leader of a new breed of genetically advanced apes, including his own family, in what was San Francisco before the outbreak.
However, the peace of Ceasar’s tribe is disturbed when a group of human survivors struggling to find new resources to continue with their lives make contact.
Dawn Of The Planet Of The Apes manages to do many positive things, starting by encouraging the viewer to forget that, ostensibly, what they are viewing is special effects, as only 5 minutes into the film the audience gets immersed in this world and the film takes on an almost documentary-esque style.
Overall, Dawn Of The Planet Of The Apes is an incredible filmmaking achievement that surpasses the boundaries of visual effects delivering a film full of heart, action and mesmerizing minutes of true science-fiction glory, making this film the best of 2014 so far and a new instant classic. With a degree in Graphic Design, experience in films and a wide experience in marketing, Jorge is creator of the site, an idea that began after he met one of his idols, director J.J.
Since then, Jorge has used all his knowledge in design, management, social media and passion for the entertainment industry to make Spotlight Report one of the best and well-known Entertainment websites in Australia. Enter your email to subscribe to our site and receive notifications of new posts (including competitions) directly to your email. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth's dominant species. Before the second film* in the LOTR series, no major character had ever appeared on screen via motion-capture. You can check out the creativity and tech that went into other amazing films from this year here. Spannende SF films als metafoor voor hoe de mens met de natuur omgaat, de angst voor de atoombom, segregatie, racisme, opstand met steeds apen versus en met mensen als uitgangspunt.


While the full review of the film will be up later in the week, we can say that the visual effects alone is incredible! This is our review of the film, but – as usual – no matter what we say, we recommend that you still go to your local cinema and see the film because there is no better critic than yourself! Over the years their contact with humans has ceased, leading them to believe that they are now the dominant species on the planet. This creates a conflict in Ceasar as he remembers his previous life among humans – including their kindness. The realistic nature of the on-screen action keeps the tension and drama of the film flowing nicely over the course of almost two hour film, and never allows a moments breathing space. In what is likely to be an another Oscar nomination worthy performance, the talented British actor once again manages to transcend the CGI, bringing a level of emotion to Ceasar that is even more superior to the first film.
Evey detail has clearly been meticulously and painstakingly crafted, unleashing a new level of realism that is creepy, mesmerizing and amazing all at the same time.
The strength of their performances almost steal the attention from the real stars of the film – The Apes, something that speaks volumes about the performances and the film script. De special effects waren voor die tijd best aardig, met name de make up en maskers van de apen kwamen geloofwaardig over.
De apen leven onder leiding van Caesar in de bossen nabij San Francisco in harmonie met elkaar. Maar de grote waarde van deze film zit hem in de focus op karakters en het verhaal. Zowel aan aap- en menszijde zijn er slechte en goede types en iedereen is zo door bepaalde gebeurtenissen die het enigszins begrijpelijk maakt. Dat is een wereld waar de apen in een militaristische wereld leven en de mensen een soort wilde dieren zijn. And it should be no surprise that WETA worked hand in hand with director Matt Reeves to create the film. This makes every single gesture of his character a visual delight – especially if you experience it on 3D. Not only does this deft touch extend to the animated characters, but also to scenes in general that are simple and breathtaking. De eerste film was uit 1968 met Charlton Heston, een astronaut die verdwaald was in de ruimte en op een planeer kwam, waar apen de dienst uit maken en mensen wilden en gevangenen waren. De spanning wordt goed opgebouwd, doordat dor kleinere gebeurtenissen het verhaal escaleert.
Net zoals de drie nieuwe Star Wars films eindigende met de beelden van de eerste trilogie, verwacht je hier ook een dergelijke overgang van nieuw naar oud!
This causes a rift in the normally harmonious ape group as his fellow simians, especially Koba who was tortured by humans for experimentation, begin to believe that his love for humans outweighs his love for apes. The quality is such that the audience is left with just one question question – how far can they push this discipline? De apen worden levensecht geacteerd door mensen die later via computeranimaties worden overgeschilderd als apen, maar wel zorgen voor de echte emoties.
Soon they conspire against Ceasar to force the tribe to declare war against mankind in a final act of vengeance that will give the apes true freedom.
One thing is certain, there is no doubt that another academy award is awaiting the team behind the stunning effects. Deze vrede wordt verstoord als er een groepje mensen langskomt en meteen van schrik een van de apen neerschiet.
The most important one that we started with was the ability to take the performance capture gear out on location.


In 2011 kwam Rupert Wyatt met een goede prequel met James Franco en Andy Serkis als de eerste slimme aap. De aap die in deel een als proefdier zat opgesloten, Koba, waarschuwt Caesar dat de mensen niet te vertrouwen zijn. On ‘Rise’ we were able to get it in the studio for the first time which was great because the actors were there … you know, the apes and the humans… the apes and the apes… they can all be together. Via dezelfde manier waarop Andy Serkis Gollum in Lord of the Rings speelt en King Kong in de laatste remake van Peter Jackson, speelt hij in de Planet series Caesar, de slimme aap die leider van een stam wordt.
Caeser wil een oorlog voorkomen en zijn vrouw, twee zoons en stam beschermen en laat de mensen toe in hun gebied om stroom op te wekken via een dam.
The director could direct them in the moment; you didn’t have to go back to the motion capture stage to direct them. But as Matt [Reeves, the director] was saying earlier, he really wanted to go out into the reality of the forest, far away from civilization. Via een escalatie aan gebeurtenissen komen de apen en de mensen lijnrecht tegenover elkaar te staan. So we had to just create a new generation of gear that could stand up to that and working remotely, still working accurately.SF: And the designs of the individual apes? JL: Once we had this new information and the fact that we had sometimes dozens of apes at the same time who were performing, we needed all new software to just get the realism back up so that we can translate the facial expressions and the body language from the actors.
Caesar komt erachter dat zowel bij de mensen als bij de apen goede en slechte wezens bestaan. You have to plant all the individual hair.SF: So you were putting in all the hairs on the apes individually? JL: Yes, all the hairs on the body and then we have all the dynamics for the muscles, for the skin, and the eyes… it all has to come together and there’s new software for all that. We have to work with the cinematographer and make sure we are doing the lighting that matches what was done on the set so that everything integrates. JL: Matt’s obviously directing it, he’s constructing the film, he’s constructing the narrative, and he’s working with the actors to bring out the moment – what’s the heart of the performance. But, yeah, we have to take that all on board and we have to do a lot of that behind the scenes to present it back to him in a finished fashion. When you are working with an actor, Matt can work with them one on one and in the moment he can see is it working? The machine is only there as a tool to allow us to store information, amplify things that we do.
Sometimes you find moments when you’re shooting bits and pieces that you like that make it more difficult to assemble everything. Like some of the shots with the ape actors on horses — it was great to do that, it really made them part of the scene, you get the dynamics of them on horseback and all the nuances that brings. So we do things like that and it may just be sometimes a question of format, like you know, if you had a tighter shot on this we wouldn’t have to do that. Matt had no idea early on what he was constructing with the scene and he was making it in pieces and we had to give it back to him in a way that could help guide him towards being able to see what he needs to see to be able to get the shots.SF: Where do you see digital effects, specifically performance capture, and its place in the movie industry?
You want to create these characters that are close enough to human that we can project ourselves onto them and still get the drama.



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