Dawn Of The Planet Of The Apes
11 Jul 2014
In contrast to the previous movie, this film shot motion capture mostly in exterior sets .Andy Serkis remarked that shooting outside in motion capture suits made all the actors playing apes so sweaty and smelly that they hardly dared to come close to other people after a few days.
In addition to the apes, visual effects company Weta Digital created other digital animals, such as a herd of deer, a grizzly bear, and CG doubles of the live horses. The deer were created using key-frame animation and the digital crowd enhancement software MASSIVE, the bear through key-frame animation, and the horses with a mixture of key-frame animation and motion capture.
The name blue eyes was giaven to Cesar son because Cesar son is the first generation to be born without the chemical that changed Caesars eyes and the rest of the Apes eyes to green in the first movie
Caesar’s and Cornelia’s infant son and Blue Eyes’ baby brother is named Milo.
In the featurette clip, Toby Kebbell reveals the deliberate thought process behind Koba’s relationship with human speech. Because he despises humans and everything they represent, he mostly steers clear of verbal language when expressing himself. However, when he becomes so enraged that he needs a quick, direct method of expression, he yells choppy words with a guttural boom. A nice touch to complicate how these apes fall in between AND outside of the human/animal dynamic.
The movie starts and ends with a close up shot of Caesar’s eyes.
During the closing credits there’s nothing. At the end of the closing credits, the sounds of apes howling can be heard along with
the sound of shifting rubble and another ape gasping for air, which may imply that Koba survived.
Andy Serkis studied world leaders before playing ape Caesar in ‘Dawn of the Planet of the Apes’. The 50-year-old actor played the primate leader in the science fiction movie and revealed he took inspiration for the part from real presidents and prime ministers in order to make the character more believable. He said: ”When I started playing Caesar I did quite a lot of research into chimpanzee behaviour but actually what was imperative understanding that Caesar is a human trapped in an ape’s body,”With ‘Dawn of the Planet of the Apes’ I studied world leaders and the decisions that they have to make and how they often make the wrong decisions but admitting they make the wrong decisions. All the psychological questions.” Although the movie documents friction between the homo sapiens, ‘The Hobbit’ star believes it represents the tension between different groups of people. He added: ”But the fact that Caesar is an ape is irrelevant because when we are making a film about these kinds of apes we are making a film about ourselves.” The star also admitted he hopes the emotional connection with the characters makes people reflect on their own behaviour.He explained: ”It’s like saying all humans are the same. That’s the point, these films are more about investigating ourselves. Emotionally you can relate to these characters even though they are another species. The level of reality in this is much more human because he is becoming more human from ‘Rise’ when he was much more ape-like.’
Toby Kebbell, the actor who played rebel bonobo Koba in ‘Dawn Of The Planet Of The Apes’, says portraying an animal on screen requires so much concentration, many of the actors would simply stay in character between takes.
“You become an ape [on set]. We’d all be sitting around looking at our phones like this [mimics an ape with a smartphone]. Then you start getting off chairs using your knuckles, it’s truly bizarre.”
“It’s hard to leave [behind].”
The film-makers used state of the art performance capture technology to allow Kebbell, Andy Serkis, and the other ape actors to bring the beasts to life. The results are startling, and the actor says the process is more like puppeteering than animation or acting.
“What you’re doing really is puppeteering a digital model and if at any moment you fall out of your ape performance… the model looks wrong. It just didn’t work.”
Kebbell was a newcomer to the franchise this time around and he admits he underestimated the difficulties he’d face bringing Koba to life. “[Playing an ape was] vastly harder than I’d imagined. I thought it would be a bit of ‘ooga booga’ and they’ll do all the digital work and animate it, but it’s not that.
A smart, involving sequel (http://www.moviehabit.com/review.php?story=daw_gk14)
Dawn of the Planet of the Apes gets to be exciting and to say something about the world instead of merely blowing it up. The apes are among the more intellectually complex characters you’re likely to spend time with this summer.( http://grantland.com/features/dawn-of-the-planet-of-the-apes-review/)
A most engaging sequel in one of the most thrilling reboots in cinema history. (http://www.cinemasight.com/review-dawn-of-the-planet-of-the-apes-2014/)
Dawn Of The Planet Of The Apes is an amazing movie if you enjoy action movies then this is a great movie if you like story and tense moments then this is also amazing. I loved the film and think it’s possibly the best film of 2014. The moments when bullets are shot it’s loud and you will most likely jump the movie is amazing and deserves the 10 Dragonfall123/(MetaCritic)
Dawn of the Planet of the Apes is presented on Blu-ray courtesy of 20th Century Fox Home Entertainment with an AVC encoded 1080p transfer in 1.85:1. The “star” of this visual presentation is no doubt the stunning rendering of the various classes of simians, something that is done with astounding, even jaw dropping, realism, with truly exceptional fine detail in elements like the bristly fur of the apes. A lot of the film plays out in almost Pacific Northwest dreariness, with dank, gray skies and at times fairly incessant rainfall, something that does tend to tamp down any immediacy in the palette. Instead, there is a glut ofdark greens and browns that may not offer much in the way of traditional “pop,” but which add a kind of gritty realism to the proceedings. Some of the more relatively well lit scenes, including several in the remnants of San Francisco, do offer an at least relatively more vivid palette. This digitally shot feature also offers overall clarity and precision not only in close-ups, but midrange shots, where aggregations of apes and humans offer a surprising amount of detail even in large groupings. Despite the general darkness of the feature, something that at least incrementally affects levels of detail at times, there are no issues with noise or other artifacts
Dawn of the Planet of the Apes features a very forceful but nuanced DTS-HD Master Audio 7.1 mix that offers a glut of thundering LFE from virtually the first moment, as well as excellently placed sound effects which recreate everything from the kind of rain forest ambience of Muir Woods to a ferocious fire that engulfs a camp late in the film. Dialogue is very cleanly presented and is nicely directional. The film offers forced subtitles for the apes’ “sign language”. Michael Giacchino’s enjoyable score is spread nicely through the surrounds and offers compelling support for several key sequences. Fidelity is excellent and dynamic range is extremely wide on this problem free track.
Deleted Scenes with Optional Commentary by Matt Reeves (1080p; 4:34)
Journey to Dawn (1080p; 8:47) focuses on the building of the new franchise, and includes some decent interviews with the likes of Andy Serkis.
Andy Serkis: Rediscovering Caesar (1080p; 9:02) focuses on Serkis and the motion capture technology utilized to create Caesar and the other apes.
Humans and Apes: The Cast of Dawn (1080p; 17:47) is more of a rote EPK, with a review of the plot and how various characters fit in.
The World of Dawn (1080p; 14:31) looks at some of the production design and location creation, both real and CGI.
The Ape Community (1080p; 10:26) centers on the society of the apes, their interactions and some of the supporting simians.
Move Like an Ape: An Artist’s Medium (1080p; 15:25) is one of the more interesting supplements, looking at both the motion capture aspect as well as rendering the apes.
Weta and Dawn (1080p; 20:27) profiles the now iconic visual effects house and its work on the film.
The Fight for a New Dawn (1080p; 16:00) looks at some of the fight choreography and the rehearsal process.
Audio Commentary by Matt Reeves. Reeves is obviously very enthused about the project, and offers a lot of interesting information in both the anecdotal and technical arenas. It’s especially interesting to hear about the rigors of the motion capture elements and compositing the rendered versions with live action.
Concept Art (1080p; 2:10)
Characters (1080p; 2:40)
Costumes (1080p; 1:05)
Props (1080p; 00:50)
Theatrical Trailers (1080p; 6:17)