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00:31Andy Serkis is unlike any other actor. He can inhabit characters that don't speak and emote in ways that you
00:38don't really see often in movies.
00:40The basic usage of performance capture is, as you see it on screen, you will see the apes, but they're
00:46apes which are infused with the heart and soul of an actor's performance.
00:49If you can be blinded by the technology, you can find yourself weighed down by it. And I think Andy
00:54brings a spirit and an understanding and a simplicity.
00:56He's able to push the technology to one side and think about it in terms of just a real live
01:01action performance.
01:02This film is not possible without the work of Andy Serkis.
01:04You have to trust me. I'm going to get you out of here.
01:07Everybody's seen chimpanzees. Everybody's seen orangutans. We know how they're supposed to look.
01:11So I think the bar in terms of needing to make photorealistic characters is really high.
01:14So we had to go to the best people in the business to do visual effects in this movie.
01:19Weta had the experience from Kong, Avatar, and Lord of the Rings.
01:23One of the improvements in motion capture since Avatar really have to do with detail and the type of imagery
01:30that they're getting out of the cameras gives us more facial information.
01:33And that subtlety is what's going to make the apes work, which is going to be very different.
01:37You don't get a chance to look in apes' eyes like you will see in this movie.
01:41We started with the concept art, and we started to use this as a basis of designing our characters.
01:46And then from there, it goes to the creatures department, which they're working on the whole muscular system, the skeletal
01:51system, and the way that the apes would actually move.
01:54Then it would come to the textures department, where we had to actually put in all the very fine wrinkles
01:58and all the characters.
01:59At the same time, the model department are doing the groom, laying out the fur, and handing that off to
02:05shaders as well, so that they can apply hair that then goes to the shots department, where everything comes together.
02:12So the creatures really do have the correct anatomical layers.
02:16They have muscles and fat and skin, and make them as realistic as possible.
02:20Obviously, when you work with Weta, you can be safe in the knowledge that they're going to come up with
02:23something pretty great.
02:24But we were attempting to do something that had never been done before.
02:28And my first reaction to seeing it was, that's Andy Serkis looking like a chimp.
02:32And that's what's so amazing, is you see his performance.
02:35What we did differently on Rise of the Apes from what we did on Avatar, is we brought the performance
02:40capture into the live-action location.
02:43Wham!
02:45In a way, it's probably the best thing that's happened to mo-cap.
02:47We've been shooting in the stage without sunlight for, like, ten years.
02:51We are on the set of the Golden Gate Bridge.
02:53This is the largest mo-cap volume in the world, and the first time it's been done outside.
02:58So Weta is basically changing all the rules with motion capture.
03:03That was good!
03:04We are breaking very new ground here.
03:07Your second three in the movie, you will believe.
03:09It has the spectacle, it has the scope.
03:11So Weta have done something that's quite extraordinary.
03:13Caesar!
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