In this sequel to Rise 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. 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.
MPC’s Duane Floch reprised his role from Rise... as Overall Previs Supervisor on the second film in the Twentieth Century Fox Apes reboot in autumn 2012.
The MPC crew focused on lens choices, shot-framing, and depth of field to help bring director Matt Reeves visual aesthetic to the screen.
Duane Floch and MPC Film’s Executive Producer Julian Levi assembled two teams; one working out of MPC’s Santa Monica facility and the other embedded within the production team on location in New Orleans.
In all, over 850 shots went through the previs pipeline between both locations. The shared workflow maintained a cohesive look and feel to the scope of work. Assets - environments, props, characters and animation cycles - were regularly updated and shared from either location and daily phone calls and cineSync sessions between locations was a regular part of the process
Read more about how the previs was put together and view the images by using the controls right and above.
MPC’s most ambitious sequences were the Colony Attack (150 previs shots; 30 postvis shots and approximately 500 apes), Entering the Dam (30 previs/techvis shots), and Village Chaos (80 previs shots; 35 postvis shots and nearly 300 apes).
Each of these sequences was shot on location and required detailed, reality-based pre-vis. The physical constraints of each location played a significant role in how the plates would be acquired.
By the Spring of 2013, the New Orleans team had increased to 16 artists and the Santa Monica team to 12. Second Unit Director Brad Parker joined Duane Floch at MPC Santa Monica to begin an intense, collaborative effort on the Colony attack sequence - one of the film’s most complex VFX sequences.
This work involved several hundred apes and continued through prep right until days before the shoot began and included several trips to the set in New Orleans.
By mid-summer 2013, MPC transitioned from previs into postvis. Followed a strategy used on the first film, as the plates came in and the turnover and screening schedule became more aggressive, more artists were added and embedded with editorial at the Fox studio.
An additional advantage this time round was the availability of MPC’s Bangalore facility for roto and match-move. It allowed the postvis team at Fox to focus solely on story, animation and compositing.
The quick turnaround of notes and access to Matt Reeves and the editorial staff made for a high-paced workflow on over 450 shots.
View the official trailer on YouTube and see some of these previs scenes brought to life.