{"id":4376,"date":"2014-07-02T22:45:22","date_gmt":"2014-07-02T22:45:22","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=4376"},"modified":"2014-07-09T17:41:39","modified_gmt":"2014-07-09T17:41:39","slug":"monkey-sea","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/","title":{"rendered":"Monkey Sea"},"content":{"rendered":"

\"apes1\"<\/a>How Michael Seresin, ONZM BSC, and the creative team from Dawn of the Planet of the Apes<\/i> found the \u201cmissing link\u201d of cinematic emotion. <\/strong><\/p>\n

The Planet of the Apes<\/i> franchise has come a long way from the days when John Chambers\u2019 classic makeup design brought walking, talking apes to life in 1968. In its day, it was startling and striking \u2013 audiences had never seen anything like it.<\/p>\n

Director Tim Burton attempted a reboot in 2001, which, though visually exciting, didn\u2019t bond audiences to the monkey madness on an emotional level. It wasn\u2019t until director Rupert Wyatt offered up Rise of the Planet of the Apes<\/i> in 2011, and its sequel, Dawn of the Planet of the Apes<\/i>, from director Matt Reeves, that contemporary filmmakers connected audiences with the ape characters in a brand new way.<\/p>\n

That approach combines the skillfully layered performances of actor Andy Serkis (Gollum from The Lord of the Rings<\/i> trilogy) with Weta Digital\u2019s Performance Capture system. The methodology allowed director of photography Michael Seresin, ONZM BSC, to photograph Serkis on set with the human actors, interacting in a relational manner never seen on screen. We asked freelancer Matt Hurwitz to speak to the film\u2019s main creative team \u2013 Reeves, Seresin, Serkis, Production Designer James Chinlund, Weta Senior Visual Effects Supervisor Joe Letteri, Weta Visual Effects Supervisor Dan Lemmon, and producer Dylan Clark \u2013 to uncover the missing link that\u2019s helped revive and expand this most unique of Hollywood franchises.<\/p>\n

EVOLUTION<\/strong><\/p>\n

\"apes4\"<\/a>Matt Reeves:<\/b>\u00a0 When I was a kid, I was obsessed with Planet of the Apes<\/i>. I had records, I had dolls, I had an 8-millimeter excerpt reel of Beneath the Planet of the Apes<\/i>. I wanted to be an ape! So when I saw Rise<\/i>, I was so taken with it, because I actually had the experience of being an ape in a way that I never thought of as a kid \u2013 which was emotionally. What Andy Serkis and Weta did to create Caesar gave you an incredibly deep, emotional identification with a CG character. I thought it was amazing. My desire for this film was to carry that forward.<\/p>\n

Dylan Clark:<\/b>\u00a0 We didn\u2019t want to make a post-apocalyptic movie. We wanted to come in after that and see how humans that have survived are trying to rebuild. So it\u2019s really the worlds of the ape civilization and the human survivors\u2019 rebuilding effort colliding, and what would happen after that.<\/p>\n

Reeves: <\/b>\u00a0It\u2019s part of the journey along the way back to the original Planet of the Apes<\/i>.\u00a0 But at this moment, it\u2019s about the apes\u2019 evolution \u2013 language, civilization, and relationships. Caesar is no longer the revolutionary. This story is a moment to find out whether or not there was a chance for humans and apes to co-exist \u2013 but keeping in mind that the original story wasn\u2019t Planet of the Humans and Apes<\/i>, it\u2019s Planet of the Apes<\/i>.<\/p>\n

THE DARK SIDE<\/strong><\/p>\n

\"DAWN<\/a>Clark:<\/b>\u00a0 Going from Rise<\/i> to Dawn<\/i>, our goal was to get a more naturalistic and dark tone, yet make it feel emotional. We didn\u2019t want it to feel like a CG movie or that we were on stages. So 80 percent was shot on location, on exterior sets. There are no lights and electricity, as Earth is reclaiming the world. Michael was able to give us that real, naturalistic feel with his \u201clight painting,\u201d as we called it.<\/p>\n

Michael Seresin:<\/b>\u00a0 It\u2019s definitely a low-key, dark film. And the big thing for me was how to make that feel not artificially lit. I used a lot of single-source lights and deep shadows. In a world where there\u2019s no electricity and no lights, you have to justify where the light comes from. That\u2019s a matter of using your imagination, and saying, \u201cOkay, we\u2019ve got a couple of airshafts coming down \u2013 let\u2019s pour some sunlight down there. And maybe that hits the water and then bounces back up.\u201d Because the reality is that you must have some light. What I like about things being darker, especially in a dramatic film like this, is that when an audience doesn\u2019t see everything, it fires their imagination. They get curious, and drawn in.<\/p>\n

Reeves:<\/b>\u00a0 Another part of that was shooting native 3D, but with Michael and I wanting to maintain a 2D aesthetic, like you would find in a non-effects film. That meant shallow focus, which, to me, is something that makes things feel intimate and real \u2013 with natural light and real focus falloff, in the CG as well. [That approach] creates an immersive 3D, such as when we\u2019re in places like the forest. But the aesthetic is still very 2D, which creates a higher level of reality.<\/p>\n

Seresin:<\/b>\u00a0 That was one of the first things we decided when we found out we would be shooting native 3D. And we decided to only use that third dimension for dramatic effect, when it\u2019s really required. We actually had a depth scale for the stereo image, from 0 to 5.\u00a0 And we were around three-quarter to one or one and one-quarter most of the time.<\/p>\n

MONKEY SEE, NOT DO<\/strong><\/p>\n

\"DAWN<\/a>James Chinlund:<\/b> In a lot of ways, the look of this film doesn\u2019t reference the previous film. We were starting on a clean page, because we were set at a 10- to 15-year jump into the future, and so much has happened to the world since we last saw it.<\/p>\n

Clark: <\/b>\u00a0We sat down and asked ourselves hard questions: Why were humans decimated by a virus? What would the stages be, and what would happen to the environment?\u00a0 Could some people be immune to a virus? Would the survivors band together? How would they survive and push forward?<\/p>\n

Chinlund:<\/b>\u00a0 For Ape Mountain, we tried to envision how an ape would go about constructing its habitat in a hostile, foreign land. We imagined they had created a walled fortress, but then, over time, as the pressure from the humans subsided, we see those defenses degraded to some degree. As their civilization expanded, they moved higher into the mountain, Mt. Tamalpais, in Marin. They built structures by pulling trees together to form tripods, and then wove homes into the negative spaces. They\u2019re living in a world from which the humans have retreated, so we played with the idea of their incorporating bits and pieces from the human world that they found. In the end, though, it\u2019s still entirely ape-centric. It represents their struggle within the formerly human world to build their own civilization.<\/p>\n

Clark:<\/b>\u00a0 It\u2019s very animalistic and primitive, yet these apes have intelligence. So there\u2019s design, there\u2019s architecture, there\u2019s function, there\u2019s purpose. But it\u2019s purpose for an ape.\u00a0 Humans would do things differently.<\/p>\n

Chinlund:<\/b>\u00a0 We built the Ape Courtyard, which is the center of the ape world and seat of power, as a set. It was 100 feet in diameter and 30 feet tall, in a parking lot at the Six Flags Amusement Park in New Orleans. Our soundstages were at the former NASA Michoud Assembly Facility.<\/p>\n

Clark:<\/b>\u00a0 We were originally thinking of shooting in downtown San Francisco, which would have been very challenging, as you can\u2019t shut down city blocks. New Orleans had much more available space and scale.<\/p>\n

LAND OF THE LOST<\/strong><\/p>\n

\"apesLANDofLOST\"<\/a>Seresin: <\/b>\u00a0My biggest challenge was making everything feel like it was taking place in San Francisco. And between Vancouver, which is overcast, gray and rainy, and New Orleans, which is Southern semi-tropical, it was difficult \u2013 the quality of light is so different. You\u2019re going from Pacific Northwest to Gulf of Mexico. So we basically just cut out the sun. We had four 250-foot cranes holding up a 200-foot-by-200-foot scrim.\u00a0 New Orleans has tropical storms, so if there was any lighting, we might have three minutes to drop these huge cranes so we wouldn\u2019t get electrocuted.<\/p>\n

Chinlund:<\/b>\u00a0 The last of the humans have formed a colony within the walls of a commercial complex. It\u2019s inspired by a real development in San Francisco at the corner of Market and California. The idea would be that the humans were developing this super-high-tech skyscraper that towers above the base, and their construction was frozen in time when the Simian Virus pandemic struck. You have this beautiful classical architecture at the base, spreading up into this unfinished spire. It was a time capsule of the human history, the old and the new.<\/p>\n

Seresin:<\/b>\u00a0 That was probably the most complex thing I had to get my head around. It was an 80-story building, and the set, which was on location in downtown New Orleans, was four floors high, maybe 40 or 50 feet. You had to imagine it as a kind of a light well, with light coming down between the various parts of the building. But what helped us was having scrimmed the whole thing. It gave the effect of light coming from a long way up, especially on day scenes. And for nighttime, they had some basic electricity around, with batteries and the like.<\/p>\n

Clark: <\/b>\u00a0We built four stories up, and built the living spaces up inside.\u00a0 James was very smart. We were looking at other ways to incorporate interesting things where apes could interact with the city. The one James found was near where we set our Colony. So we started a project that will actually be realized at some point in San Francisco \u2013 which I love. We started their building for them, and they\u2019ll get to see a version of it. Not exactly like theirs, but I think they\u2019ll like James\u2019 better!<\/p>\n

FACE TIME<\/strong><\/p>\n

\"apesFACETIME1\"<\/a>Reeves:<\/b>\u00a0 There was something about Andy\u2019s work [as Caesar] in Rise that was at a deeper level of emotionality than anything he\u2019d done, and I wanted to know how and why. I asked to see all the shots of Caesar, and then all of the shots of Andy in those same moments on the set, side by side. And what I realized was that the key to the whole mystery about what makes MoCap work is great acting.<\/p>\n

Dan Lemmon: <\/b>\u00a0Performance capture is an evolving technology. When I was working on Titanic<\/i>, we were using motion capture to create background stunt action. But once the technology got to the point where we needed to create a digital character that was one of the main characters of a film, performance capture became even more important. That shift happened when Andy Serkis played Gollum in Lord of the Rings<\/i>.<\/p>\n

Andy Serkis: <\/b>\u00a0The way Peter Jackson explained it to me when I first met him was: \u201cWhy should the two actors playing Sam and Frodo have to imagine what Gollum is, when you can have an actor play him?\u201d<\/p>\n

Joe Letteri: <\/b>\u00a0That [film process] was all about capturing the movement of the body. And Andy was either on the set with the actors, because he needed to physically interact with them, or, if he had scenes that he could do completely on his own, we would put him in a motion-capture volume. If he needed to match the performance of what he did on set, we would play back what he did, and he would physically match it. But there was no way to capture the face; that was all done by animators, watching what Andy did as reference, and painstakingly trying to recreate that performance. For King Kong<\/i>, we wanted to find a way to do motion capture with the face, which involved gluing dots onto Andy\u2019s face, and then capturing their motion with a separate set of motion capture cameras. That data was analyzed with regard to understanding how the muscles underneath the skin moved.<\/p>\n

Lemmon: <\/b>\u00a0Kong was a little restrictive in the amount of movement you could do. So when Avatar came along, we developed what was essentially a portable, flexible facial-capture rig, which is what we used on Apes<\/i>. Makeup dots are painted onto the actors\u2019 faces, and a camera is attached to their heads, by way of a helmet and a little boom arm, along with lights and a microphone. The camera doesn\u2019t actually capture the dots like the motion-capture cameras are doing for the points on their bodies. It\u2019s used as a kind of a detailed, slightly fish-eyed distorted video reference, but also to record the motion of the dots. We then put the actors through a calibration process, where we sit them in a chair, and shoot their face from seven different angles, and run them through a range of motion study, of what their face does when they do different facial expressions. We study the movement of the dots and essentially make a map of what those face dots will look like from the position of that facial camera as they make those expressions, as those individual muscles are fired.<\/p>\n

\"apesFACETIME2\"<\/a><\/b><\/p>\n

Serkis:<\/b>\u00a0 There\u2019s a huge difference between a committee of animators creating a character, and the authorship of the role on set between actors and a director, where you\u2019re taking emotional responsibility for the character. [The technology] has progressed extraordinarily in terms of the fidelity to the authored performance. But it\u2019s only partly to do with technology. It\u2019s more to do with having a team of people who fully understand the interpolation of a performance that they are seeing onscreen. They\u2019re taking the data and wrangling it in a way that honors the performance. The facial pipeline is now so refined by Weta and so understood by the artists that do that very delicate phase between taking the actor\u2019s raw underlying emotional performance and translating it into the actual final rendered character. It\u2019s fully understood, spectacularly so.<\/p>\n

Lemmon:<\/b>\u00a0 The big challenge with the motion-capture system comes when we leave the shelter of the stage. Sunlight overpowers traditional motion-capture cameras and systems, which would depend on low-light-output infrared light reflecting off dots on the actors\u2019 bodies. We\u2019ve now changed our reflective dots to what we call \u201cactive markers,\u201d which are basically LEDs that we stick to the actors\u2019 bodies. They flash at 120 times per second, and are tuned to infrared, flashing with a really bright pulse of light just as the motion-capture camera\u2019s shutter opens.<\/p>\n

Clark:<\/b>\u00a0 Our goal, with this movie, was to make the audience feel that they were really in the wild, watching people and apes interact. This system allowed us to take these MoCap actors and put them in exterior sets, with real elements like rain and mud and dirt. But when you see these apes, having gone from these MoCap actors, with arm extensions, quadrupedding over real obstacles, and doing it in the rain \u2013 once it\u2019s rendered, you cannot believe how cool it looks. The way Matt and Michael have shot it, with shallow depth of field and long lenses, you just go, \u201cWow \u2013 that is a real ape in the wild. And it\u2019s emoting. How is this possible?\u201d<\/p>\n

By Matt Hurwitz \/ Photos by David James \u2013 Weta Digital\u2013 Courtesy of 20th Century Fox. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

How Michael Seresin, ONZM BSC, and the creative team from Dawn of the Planet of the Apes found the \u201cmissing link\u201d of cinematic emotion.<\/p>\n","protected":false},"author":1,"featured_media":4383,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[322,29,319,37,320,321,323,324],"class_list":["post-4376","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-andy-serkis","tag-cinematography","tag-dawn-of-the-planet-of-the-apes","tag-icg-magazine","tag-icgmagazine","tag-michael-seresin","tag-mocap","tag-motion-capture"],"acf":[],"yoast_head":"\nMonkey Sea - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Monkey Sea - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"How Michael Seresin, ONZM BSC, and the creative team from Dawn of the Planet of the Apes found the \u201cmissing link\u201d of cinematic emotion.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2014-07-02T22:45:22+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-07-09T17:41:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/07\/apesFEATUREDimage.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1400\" \/>\n\t<meta property=\"og:image:height\" content=\"933\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"Monkey Sea\",\"datePublished\":\"2014-07-02T22:45:22+00:00\",\"dateModified\":\"2014-07-09T17:41:39+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/\"},\"wordCount\":2512,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/07\/apesFEATUREDimage.jpg\",\"keywords\":[\"Andy Serkis\",\"cinematography\",\"dawn of the planet of the apes\",\"ICG Magazine\",\"icgmagazine\",\"michael seresin\",\"mocap\",\"motion capture\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/monkey-sea\/\",\"name\":\"Monkey Sea - 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