Baby River and a raspberryĬaesar has an offspring named Baby River which is an entirely CG creation. Courtesy of Twentieth Century Fox and Weta DigitalĪnother motion-capture performance stands out to Barrett: For me, Maurice is the most ape-like even though hes possibly the most evolved as a personality his behavior is wonderfully Orangutan-like and thats all due to Karin Konoval ( Alone in the Dark) who played him. Karin Konoval transformed into Maurice © 2014 Twentieth Century Fox. You see that with Toby Kebbell he became completely unhinged, embracing the character of Koba. Its not about being a great motion-capture actor its about being a great actor. It makes that relationship on-set a successful one. Directors are becoming confident and comfortable with the idea that what theyre seeing from Andy Serkis is what theyll see from Caesar, observes Dan Barrett. With the advancement of technology, motion-capture performers are gaining acceptance as actors. "Its not about being a great motion-capture actor its about being a great actor" Barrett notes: In the case of Dawn we have more successful motion-capture because the apes are a lot more bipedal thats something which is a lot easier for a human actor to convey than a quadrupedal gate. The animators made sure that theyre picking up on every little eye dart because the smallest movements are often the most important. The reference material was indispensable, especially, when making believable CG eyes. Courtesy of Twentieth Century Fox and Weta Digital "The animators made sure that theyre picking up on every little eye dart because the smallest movements are often the most important" Toby Kebbell transformed into Koba © 2014 Twentieth Century Fox. Thats something well probably see more of in the future. You have plenty of coverage from locked off witness cameras and we can gather the motion-capture data just from that it frees the actors to do physical things. They could wear suits with markers essentially stitched into them. In addition to the active marker system Weta used a vision-based motion-capture system in which the actors didnt need to wear the battery packs, remarks Dan Barrett. On-location motion-captureĪ major difference for the production was the extensive use of on-location motion-capture. We tend to build more detail into the brows of our apes so they end up being more humanoid both in the structure and in the way that they move. Courtesy of Twentieth Century Fox and Weta Digital "We tend to build more detail into the brows of our apes so they end up being more humanoid both in the structure and in the way that they move"īarrett adds: Were lucky that the muscles of the chimp and ape faces are similar to a humans, so we approached the building of these rigs in a similar way. We ended up going back into the facial puppets, and creating new shapes and shifting shapes to help with the dialogue, while at the same time looking at the mouth shapes that Toby Kebbell ( The Counselor) and Andy Serkis ( Burke and Hare) made for Koba and Caesar.Īndy Serkis transformed into Caesar © 2014 Twentieth Century Fox. If you deliver dialogue with the physical properties of a human face with human lips making the shapes that make the sounds, you need to take that into account when youre doing lip sync. There were a couple of words in the first film Rise of the Planet of the Apes but its fairly extensive in this film, observes Weta Digital Animation Supervisor Dan Barrett. In Dawn of the Planet of the Apes (2014) the CG primates have evolved beyond using sign language to communicate with humans. Weta Digital Animation Supervisor Dan Barrett reveals the art of retaining and transforming mo-cap performances into believable CG apes in Dawn of the Planet of the Apes.
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