We were in touch during the fall of 2012 and the new film seemed like a good fit, a good project for us to take on. I worked alongside Ryan Stafford, one of the film’s visual effects producers. I became pretty good friends with everyone on that crew. I worked as the overall previs supervisor on Rise of the Planet of the Apes. But we do have several projects in our previs pipeline that will be going through the finals pipeline with the goal that the work we do will serve as a first pass at the layout phase for the finals work. Dawn of the Planet of the Apes is such a case. It doesn’t always happen that we take on a show’s previs that is also going into MPC’s finals pipeline. With that in mind, we’re in the process of developing our own pipeline. The vfx pipeline concept and structure, working across continents, sharing data and aspects of data, doesn’t translate well to the speed with which we need to work. The complexities of porting the tools from Linux to Windows…ĭF: …No, it’s not that easy or practical. We’ve learned some valuable lessons over the last couple years, most notably concerning building our own Windows-based previs pipeline, with the goal of seamless integration with our Linux-based visual effects Linux pipeline. The goal has been to take on projects and see them through, from previs to postvis and final, all within the MPC pipeline.
I had a chance to speak to Duane, who shared his insight not only on the Colony Attack sequence but on MPC’s recent move into previs, the differences in previs and visual effects production pipelines as well as the challenges faced on a film with literally hundreds of apes going to war.ĭan Sarto: So tell me about MPC’s previs efforts and your work on the film.ĭuane Floch: About two and a half years ago, MPC made a decision to increase its industry offerings by providing previs services. Led by previs supervisor Duane Floch, who handled previs supervision on the first Apes film, MPC’s team, split between Los Angeles and New Orleans, spent more than a year on the project handling both previs and postvis duties. Central to Reeves’ visual aesthetic and storytelling sensibility was the sequence previs, handled by MPC. The complexity and sheer enormity of the Colony Attack scene make it easy to overlook the underlying story perspectives the director sought to convey. Not only are the visual effects spectacular, but they beautifully capture the emotions at the heart of the story - doubt, fear and hatred – which collide in a horrific and violent battle between the growing ape colony and the human remnants of a once vibrant city. With much attention focused on the spectacular animation and nuanced performance capture on Matt Reeves’ Dawn of the Planet of the Apes sequel, it’s easy to forget the massive action sequences involving a huge ape army attacking a desperate colony of humans.
All images TM and © 2014 Twentieth Century Fox Film Corporation.
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