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When <keyword id="707762" type="UNKNOWN" weightage="100" keywordseo="Thalaivar">Thalaivar</keyword> takes the centre stage, big bucks are bound to roll in. The <keyword id="25892" type="ORGANIZATION" weightage="100" keywordseo="box-office">box office</keyword> drought is finally over as silver screen sensation <keyword id="14509" type="PERSON" weightage="100" keywordseo="Rajinikanth">Rajinikanth</keyword>’s latest outing <keyword id="1849408" type="UNKNOWN" weightage="100" keywordseo="Kochadaiiyaan">Kochadaiiyaan</keyword> has turned out to be a smash hit, crossing the Rs 50 crore mark in just five days, according to industry estimates. The movie grossed Rs 42 crore worldwide in the first three days, according to a release by <keyword id="128026" type="CITY" weightage="60" keywordseo="Eros-International">Eros International</keyword>. Domestic collections amounted to Rs 30 crore in the opening weekend while the rest came from overseas business. This could be equivalent to Rs 32.3 crore nett worldwide, as per trade estimates. “Kochadaiiyaan opening weekend – Worldwide: Rs 42 cr gross. All 6 languages. 2D and 3D. SUPERB,” film critic and trade analyst Taran Adarsh tweeted. 
 However, first Monday collections dipped considerably to Rs 5 crore in the <keyword id="1761158" type="UNKNOWN" weightage="100" keywordseo="indian-circuit">Indian circuit</keyword> while the movie managed to earn Rs 4.5 crore at home on the first Tuesday. Although overseas numbers for these two days are not available yet, industry insiders put gross worldwide collections at Rs 50 crore-plus just after five days. “Kochadaiiyaan… has fared exceptionally well in <keyword id="8695" type="COUNTRY" weightage="60" keywordseo="Malaysia">Malaysia</keyword> in particular. Is good in the <keyword id="6355055" type="COUNTRY" weightage="60" keywordseo="USA">USA</keyword>, the UK &amp; <keyword id="6355478" type="COUNTRY" weightage="60" keywordseo="Australia">Australia</keyword>,” Adarsh tweeted about weekday business. With earnings from <keyword id="6358065" type="PERSON" weightage="80" keywordseo="Satellite">satellite</keyword> rights in multiple languages, audio and music rights, brand tie-ups and other income, the film is well on its way to cross Rs 100 in revenues. 
 This period drama-cum-futuristic fantasy was off to a stupendous start on Friday (May 23), hitting 3,000-plus theatres worldwide. Eros International released the film in 2D and 3D, in 6 languages, and directly undertook the distribution in <keyword id="20154" type="ORGANIZATION" weightage="80" keywordseo="tamil-nadu">Tamil Nadu</keyword>. The flick saw nearly 95% occupancy in Tamil Nadu where Rajinikanth has a huge fan following. In contrast, the Telugu version saw a lacklustre beginning at home, grossing only Rs 5 crore in the first 3 days. Business slumped in the <keyword id="2266509" type="UNKNOWN" weightage="100" keywordseo="Northern-belt">Northern belt</keyword> as well and the Rajini-starrer significantly lagged behind with Rs 4 crore gross during the first three days. The budget of this movie is Rs 125 crore across all languages. 
 In case you are not aware of its many merits, let us quickly run you through some landmarks. Directed by <keyword id="1800934" type="PERSON" weightage="100" keywordseo="Soundarya-R-Ashwin">Soundarya R. Ashwin</keyword> (Rajini’s daughter) and written by K.S. Ravikumar, Kochadaiiyaan is India’s first 3D film to use <keyword id="2266515" type="UNKNOWN" weightage="100" keywordseo="Photorealistic-motion-capturing">photorealistic motion capturing</keyword> techniques – a technology that makes animation as lifelike as possible (you had a good dose of it in James Cameron’s <keyword id="44111" type="CITY" weightage="80" keywordseo="Avatar">Avatar</keyword>). The film has Rajinikanth in triple roles – Kochadaiiyaan, Rana and Sena. <keyword id="598" type="PERSON" weightage="100" keywordseo="Deepika-Padukone">Deepika Padukone</keyword>, <keyword id="297" type="PERSON" weightage="100" keywordseo="Jackie-Shroff">Jackie Shroff</keyword>, <keyword id="1029184" type="PERSON" weightage="100" keywordseo="nassar">Nassar</keyword> and <keyword id="24628" type="PERSON" weightage="100" keywordseo="Shobana">Shobana</keyword> did pretty well in other key roles in the film. The music has been composed by <keyword id="11851" type="ORGANIZATION" weightage="100" keywordseo="AR-Rahman">AR Rahman</keyword> and cinematography has been handled by Padmesh. 
 
For the thinking audience, however, the storyline has nothing new. It features the same old conflict between the good and the evil but also comes with some surprising twists and moral dilemmas. Yet, at the end, it tires more than illuminates, failing to take you past the visual dazzle. As film critic Shubhra Gupta so rightly notes, “Even Rajini, the one and the only, can’t pick up a film and run with it, if it has the oldest, creakiest plots cobbled together from many books. But the best tech specs in the world can’t rescue a sinking story… After a point, it all becomes too much sound and fury and not much else. One Rajini flipping cigarettes is much more fun than two Rajinis flinging swords in never never land.” 
 
 
 Produced by <keyword id="27326" type="PERSON" weightage="100" keywordseo="Sajid-Nadiadwala">Sajid Nadiadwala</keyword> and directed by <keyword id="616900" type="PERSON" weightage="100" keywordseo="Sabbir-Khan">Sabbir Khan</keyword>, <keyword id="1184791" type="UNKNOWN" weightage="100" keywordseo="Heropanti">Heropanti</keyword> (a remake of the 1983 movie Hero) is the other release of the week and has performed better than Kochadaiiyaan in the northern circuits. The action-romance flick has seen an influx of debut actors (a total of 21) including <keyword id="133664" type="UNKNOWN" weightage="100" keywordseo="Tiger-Shroff">Tiger Shroff</keyword> (Jackie’s son) and <keyword id="210696" type="PERSON" weightage="100" keywordseo="Kriti-Sanon">Kriti Sanon</keyword> in the lead roles 
 
“Heropanti passes the crucial ‘Monday test.’ Fri 6.63 cr, Sat 6.42 cr, Sun 8.28 cr, Mon 4.26 cr. Total: Rs 25.59 cr nett. India biz,” tweeted Adarsh while trade figure puts the domestic collections at Rs 24.96 crore. <keyword id="1996079" type="UNKNOWN" weightage="100" keywordseo="Overseas-collections">Overseas collections</keyword> stood at Rs 2.13 crore gross after Day 4. The masala entertainer was released in 2,100 screens across India and its debut day earning is the fifth highest opening day collection for movies released in 2014, behind <keyword id="6593120" type="PERSON" weightage="60" keywordseo="Jai-Ho">Jai Ho</keyword>, <keyword id="72970" type="UNKNOWN" weightage="100" keywordseo="2-States">2 States</keyword>, <keyword id="6427325" type="UNKNOWN" weightage="100" keywordseo="Gunday">Gunday</keyword> and <keyword id="1020628" type="UNKNOWN" weightage="100" keywordseo="Ragini-MMS-2">Ragini MMS 2</keyword>. Earnings on Monday fell less than 40% than what it was on Friday and the strong growth continued even on Day 5 (Tuesday, May 27) when it collected around Rs 4 crore at home. 
 
This one is a medium-budget movie and cost around Rs 26 crore including promotion. So we can safely assume that it is set to be a hit without much fuss. But all these good numbers do not essentially spell quality. 
 While Kriti Sanon (<keyword id="7876" type="PERSON" weightage="100" keywordseo="Dimpy">Dimpy</keyword>) looks quite striking in a below-par storyline featuring love-and-marriage adventures and misadventures in Jattland, Tiger Shroff (<keyword id="230102" type="PERSON" weightage="100" keywordseo="Bablu">Bablu</keyword>) looks quite inane unless he is in the thick of the action, doing some awesome stunts and beating up the goons. Noted film critic Anupama Chopra has given the movie 2 out of 5 stars saying, “Heropanti is comically bad and the disjointed narrative brims with low-IQ, high-testosterone men brandishing weapons. The women are puppets who either simper or scream.” 
 
Quite depressing, if you ask us, but there’s one silver lining. Both movies are raking in the moolah after a long time and that’s what matters in the business of cinema. 
 
Images: Indiatimes

Box Office: Kochadaiiyaan Thrives On Rajini Power; Heropanti Soaring High

<ul class="summary-list"><li>A viral tweet over the weekend started a debate around the "Avatar" movies and animation.</li><li>The tweet asserts that "Avatar: The Way of Water" should be considered an animated film at the Oscars.</li></ul>When it comes to its visuals, "Avatar: The Way of Water" has been widely praised.Vox's Alissa Wilkinson <a href="https://www.vox.com/culture/23509385/avatar-2-way-water-review-frame-rate-hfr">wrote</a> that the movie "reminds us that blockbusters don't have to look absolutely terrible." I, myself, wrote that it <a href="https://www.businessinsider.com/avatar-way-of-water-visual-effects-make-marvel-look-amateur-2022-12">makes Marvel movies look amateur.</a> And, last week, it was nominated for best visual effects at this year's Oscars — an award that the first "Avatar" movie won 13 years ago.But a semi-viral tweet on Sunday raised the question of whether the film's impressive visuals are so extreme that they qualify the film as an animated movie — and, thus, if it should be considered as one at the Oscars."Avatar is an animated film and should've been put in the animated film category," <a href="https://twitter.com/Matt2Dee/status/1619649739385081857" target="_blank" rel="noopener">tweeted</a> artist Matthew Robert Davies, <a href="https://www.imdb.com/name/nm12322061/">who's worked on</a> TV shows "Roy" and "The Adventures of Paddington." "Hyper realism is still animation. Mo-cap is still animation."The tweet has 2.3 million views, over 7,500 retweets, and over 72,000 likes.The <a href="https://www.oscars.org/sites/oscars/files/95th_oscars_complete_rules.pdf">Oscars' rules</a> for the animated feature category define an animated movie as "a motion picture in which movement and characters' performances are created using a frame-by-frame technique."The rules notes that to be considered in the category, an animated film "must have a significant number of the major characters animated" and that animation "must figure in no less than 75% of the picture's running time."They go on to state that "motion capture and real-time puppetry are not by themselves animation techniques.""The Way of Water" relies heavily on motion capture. Most of the movie's main characters are filmed using the technique, which Davies refers to "mo-cap."Actors donned suits that capture their movements and features to create the photorealistic aliens seen in the movie. Director James Cameron and his crew even <a href="https://www.businessinsider.com/behind-the-scenes-avatar-2-giant-tank-photos-2023-1#the-way-of-water-crew-developed-new-methods-to-film-motion-capture-underwater-7">developed new methods to film using the technology underwater.</a> The rules also stipulate that if a movie is "created in a cinematic style that could be mistaken for live action," then it's up to the filmmakers to submit their argument for why the film should be considered animated rather than live action.It would be hard to argue that the "Avatar" movies could not be mistaken for live action.The motion-capture technology is advanced. Cameron <a href="https://www.businessinsider.com/behind-the-scenes-avatar-2-giant-tank-photos-2023-1#much-of-the-reason-that-the-way-of-water-looks-so-good-is-because-much-of-it-was-filmed-in-a-120-feet-long-60-feet-wide-30-feet-deep-and-250000-gallon-tank-5">filmed much of "The Way of Water"</a> in a 250,000-gallon tank with current machines to better create the film's many ocean sequences, and there are prominent human characters in the mix.Movies that are nominated in the animated feature category this year are more clearly defined as animated films by the rules, which note that stop motion counts as an animation technique. Both "Guillermo del Toro's Pinocchio" and "Marcel the Shell with Shoes On" utilize stop motion.

Are the 'Avatar' movies animated? Here's why the Oscars don't think so.

<ul class="summary-list"><li><a href="https://www.insider.com/category/disney">Disney</a> has been remaking many of its hand-drawn animated classics into <a href="https://www.insider.com/category/movies">films</a> that <a href="https://www.insider.com/disney-live-action-remakes-2017-2">mix live action with innovative CGI.</a></li><li>"The Jungle Book" and "<a href="https://www.insider.com/category/the-lion-king">The Lion King</a>" used virtual production to create photorealistic visions of talking and singing animals.</li><li>In "Maleficent: Mistress of Evil," Angelina Jolie was made to look like she was flying through the air while the cast of "Mulan" was strapped into wires for many gravity-defying stunts, and Will Smith danced around in a motion-capture suit as the Genie in "Aladdin."</li><li><a href="https://www.insider.com/?hprecirc-bullet">Visit Insider's homepage for more stories</a>.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>. Narrator: From motion capture to virtual production, <keyword id="46161" type="CITY" weightage="60" keywordseo="Disney">Disney</keyword> has been able to bring everything from the Pride Lands to Agrabah into the real world. But trying to translate these classics from hand-drawn <keyword id="21778" type="TECHNOLOGY" weightage="60" keywordseo="animation">animation</keyword> to live action while maintaining everything audiences loved about the originals is never easy. Like, how do you make a photorealistic lion that can also belt out songs? ♪ It means no worries ♪ ♪ For the rest of your days ♪ To see how they did it, take a peek at what eight Disney live-action remakes looked like <keyword id="37533" type="ENTERTAINMENT" weightage="60" keywordseo="Behind-the-scenes">behind the scenes</keyword>. Actress Liu Yifei trained for three months, about six to seven hours per day, to portray Mulan. Like here, where you can see her preparing for one of the movie's epic sword fights. According to cinematographer Mandy Walker, the actress did about 90% of her own stunts. The cast had to learn everything from martial arts to horseback riding for the action-packed film. Meanwhile, many of the film's gravity-defying stunts were achieved with impressive wire work. This film featured about 70 different animal species created using groundbreaking CGI. There was a key step in the process to making sure all of the animals looked so realistic: facial rigging. During this stage, animators explored what muscles animals have that humans do not. By doing that, they could ensure the animals would do things like snarl the right way. To make sure the animals looked convincing when they talked, animators used a combination of human and animal muscles for the characters' mouths. Another crucial breakthrough had to do with putting hairs on the animals. They had to figure out the direction an animal's hair would move, how it clumps, and how it interacts with the world around it. Perhaps most impressive is that Neel Sethi, who played Mowgli, acted completely alone on set, as all the animals were created with CGI and the other stars recorded their voices. But he did have a little company. Actors in blue suits and crew members held up animal puppets and used googly eyes on their hands, like these pesky monkeys that steal food from Mowgli, which were later replaced with CGI versions of the animals. "The Jungle Book" paved the way for 2019's "<keyword id="80260" type="ENTERTAINMENT" weightage="60" keywordseo="The-Lion-King">The Lion King</keyword>." The film was shot using virtual production, which allowed director Jon Favreau and the crew to step into the world they were creating and shoot everything like it was really live action. The biggest challenge for the film's visual effects team was creating a photorealistic version of the African savanna while also remaining faithful to the source material. Take the part where Rafiki stands and lifts Simba. In reality, mandrills can't stand up like that. So in the new version, they animated the character sitting down while lifting Simba into the air. And the animals still needed to be able to speak and also sing some of those iconic songs. So the animators would try to reposition the animals' heads when they could so the audience wouldn't be staring directly into their mouths. And they timed the characters' breathing to their dialogue and at the same time let the characters' belly muscles and diaphragm tighten so it would really like they were letting out air while talking. Many CGI dogs were created for this live-action remake. However, the two main stars were real. A mutt named Monte played Tramp, while a cocker spaniel named Rose played Lady. Perhaps nothing was more challenging than filming the most iconic scene from the 1955 original, when the two dogs share a plate of spaghetti and meatballs. This scene took three days to film, and while shooting it, the noodles kept breaking. So instead of using actual noodles, they used undyed licorice soaked in chicken broth. This ensured that the noodle was strong enough for the take and also that the dogs had something quite tasty to eat. The moment where the two dogs' snouts touch, though? That was CGI. The elephants were created with masterful visual effects work by MPC Film. However, the actors still needed something on set to sell the scenes. So an actor and a stunt double in green suits stood in for baby Dumbo. But first, they had to learn to move like a baby elephant, which included walking around on all fours using these stilts, no easy feat on long shoot days. Instead of making the Genie character an entirely CGI creation, Will Smith got to fully embody him and his dance moves, and it was all captured by a motion-capture suit. While "Aladdin" initially received criticism for how the Genie looked in his blue form, the movie ended up having him in human form whenever it could. And to get a sense of some of the film's impressive stunts, just look at the "One Jump Ahead" sequence. While most <keyword id="406" type="ENTERTAINMENT" weightage="60" keywordseo="Movies">movies</keyword> are shot at 24 frames per second, some parts of this sequences were shot at a slow-motion 36 frames per second, while others were shot at an incredibly fast 18 frames per second. According to director Guy Ritchie, actor Mena Massoud had to make sure he was singing completely in sync. So at some parts he had to sing really fast and other parts really slow. "Mistress of Evil" is a sequel to the 2014 retelling of "Sleeping Beauty" from the villain's perspective. This movie had to make its titular character, and many other characters, fly. They pulled this off using two different methods. The first was using wires, a more traditional practical method for lifting up characters in the air. The second way was lifting actress Angelina Jolie and the other flying characters up with these two-pronged forks. The forks are operated by these extras in blue suits that you see back here, who would later be turned into CGI backdrops. The fork fits onto both sides of a person's body. This device gives them mobility and allows them to twist a person around backwards, forwards, or side to side, a "360-degree movement" while the actor is safely clamped into place. Meanwhile, Maleficent's wings were created with CGI. While on set, Jolie wore these on her back, which would later be replaced with wings. The visual effects team was tasked with making convincing wings and also making sure those wings moved in sync with the performer's body movements. To fully embody the role of Beast, actor Dan Stevens wore a motion-capture suit on stilts. The stilts ensured that the actor was the Beast's appropriate height on set so the actors would be looking at the right spot. However, they didn't just have the characters standing in front of green screens; they actually built many of these sets in England, and they are impressive. Take the ballroom, which was made with 12,000 square feet of faux marble. And they payed special attention to the costumes. Belle's dress was decorated with about 2,160 Swarovski crystals, and according to actress Emma Watson, the costume designers created it so it looked like it was floating as Belle and Beast danced. What are some of your favorite Disney live-action remakes? And which ones are you most looking forward to? Let us know in the comments. Read the original article on <a href="https://www.insider.com/disney-live-action-remakes-behind-the-scenes-2020-4">Insider</a>

What 8 Disney remakes looked like behind the scenes

With 'The Last of Us Part II,' Sony has delivered a gaming masterpiece to end the PlayStation 4 era

<div class="KonaFilter image-container display-table"><div><div class="image on-image">FoxHello Caesar.</div></div></div>New York Comic Con fans were in for a treat Thursday night. Fox held a special event at the Regal theater in Times Square to show off the first footage from next July's "War for the Planet of the Apes."<keyword id="79969" type="ORGANIZATION" weightage="100" keywordseo="insider">INSIDER</keyword> was on hand, along with a lot of other press, to witness seven minutes of footage from the upcoming film along with a behind-the-scenes look at the sequel.Director Matt Reeves, producer Dylan Clark, and actor and motion-capture genius Andy Serkis ("The Lord of the Rings") were present to showcase the footage and for a Q&amp;A fielded by Entertainment Weekly. <div class="KonaFilter image-container display-table"><div><div class="image on-image"><a href="https://twitter.com/ApesMovies">Fox/@ApesMovie</a>Here's a quick look at the room.</div></div></div>That wasn't it, though. Near the end of the an hour-long panel, Fox debuted the world premiere of the film's first trailer. We're not talking about the 31-second teaser Fox released earlier Thursday for the film. We're talking about a full teaser trailer for next July's film. If you're a fan of the first two films in the series, what we saw Thursday evening looked good.<h3>Here's what we learned about the sequel</h3><div class="KonaFilter image-container display-table"><div><div class="image on-image"><a href="http://www.youtube.com/watch?v=h_9-3Fj3ZdI">20th Century Fox / Dawn of Planet of the Apes trailer</a></div></div></div>Reeves said the sequel will take place two years after 2014's "Dawn of the Planet of the Apes" in the midst of a giant war raging between mankind and apes. Caesar (Andy Serkis) is still haunted after killing fellow ape Koba, the antagonist of the last film. However, the apes are suffering heavy casualties and Caesar is devastated. He's out for revenge, and Reeves said this leads Caesar to go on a quest to kill the colonel, played by Woody Harrelson."He's carrying a phenomenal amount of guilt about killing Koba," Serkis told the crowd. "His desire for revenge becomes dark and obsessive. Koba keeps coming into his mind."Reeves said Caesar and Harrelson's character will have a struggle for about two-thirds of the film.Unlike previous films that have been told from the human's point of view or split between the humans and apes, this story will be told exclusively through Caesar's point of view.Reeves said in the filmmaking process the crew watched a bunch of other movies for inspiration, including "Ben-Hur," "Apocalypse Now," "The Ten Commandments," "Platoon," and "The Thin Red Line."<h3>Behind-the-scenes footage</h3>The first batch of footage seen included a look at the film's visual effects and motion capture. We were shown how the actor's performances in mo-cap are translated into photorealistic ape models and saw some on-set footage. <div class="KonaFilter image-container display-table"><div><div class="image on-image"><a href="https://www.youtube.com/watch?v=BFrWoDw-k54">20th Century Fox/Dawn of the Planet of the Apes</a>Previous released footage shows how Serkis looks in one of his motion capture suits.</div></div></div>Andy Serkis was seen walking around in a grey motion-capture suit wielding a gun and sometimes with stilts to make his arms mimic those of an ape.There were shots seen of actors riding horses on both the beach and on a snowy terrain.<h3>What happened in the seven minutes of footage from the film</h3><div class="KonaFilter image-container display-table click-to-enlarge"><div><div class="image on-image"><a title_source="Fox/@ApesMovie" title_caption="Director Matt Reeves, producer Dylan Clark, and Andy Serkis at the NYCC panel for " War="" for="" the="" Planet="" of="" Apes.="" class="zoomin" href="https://static-ssl.businessinsider.com/image/57f7201edd089551358b4bb8-960/war-for-planet-of-the-apes.jpg"></a><a href="https://twitter.com/ApesMovies">Fox/@ApesMovie</a>Director Matt Reeves, producer Dylan Clark, and Andy Serkis at the NYCC panel for "War for the Planet of the Apes."</div></div></div>Fans and press were treated to an unfinished first-look scene from the film featuring Caesar and a few of his fellow apes. Director Matt Reeves seemed a bit nervous to show off the work in process, warning that the footage would look crude and cartoonish. "This is like stripping down naked in front of you," Reeves admitted. "Seven minutes of movie stripped down that's being edited right now.""Keep in mind, what you're seeing is raw," he also said. "It's Quicktime out of an Avid."What we saw was a fantastic peek at the filmmaking process. The scene included a mix of motion capture suits, some ape renderings, and finished apes. Caesar and a few other apes run into a human at his home in the woods. The man is about to surrender, dropping a pile of firewood, but he's mercilessly shot. We see that it's Caesar who shoots and kills the man. That's surprising. If you've been following the series, Caesar has been the closest ape to humans and has been sympathetic to them in the past. That's changed. He's now colder and hardened against mankind since the war.<div class="KonaFilter image-container display-table"><div><div class="image on-image">20th Century FoxThis is from "Dawn of the Planet of the Apes."</div></div></div>The apes then raid the man's house along with Maurice (Karin Konoval), the kind orangutan from "Dawn of the Planet of the Apes." The group come across a young girl who appears to have a speech problem. When the group gets ready to head out, the girl follows them outside to see, presumably her father, shot dead. Maurice asks Caesar if she can travel with them. He says no. She tells him that she won't leave her behind. We then see the group riding off along a beach on horseback, the little girl tucked behind the orangutan as Caesar gives her a wary look of disapproval. What was especially incredible to watch was Serkis' raw emotions and facial expressions behind the militant ape.When the clip was finished it received a warm reception from the crowd. Reeves was asked what the experience of watching the unfinished footage with a crowd was like. "That was awful," Reeves said at first before deciding, "it was incredible." Reeves said that they had been wanting to show footage like that for some time to a crowd. He emphasized that it's rare to see acting like that in that process. He then told the New York crowd that they originally wanted to show us a different scene, but they couldn't because it included a huge spoiler. Bummer.When discussing the scene, Reeves described Caesar as a "badass Clint Eastwood Caesar." That's a pretty accurate assessment.<h3>The first trailer for "War for the Planet of the Apes"</h3><div class="KonaFilter image-container display-table"><div><div class="image on-image"><a href="https://www.youtube.com/watch?v=3sHMCRaS3ao&amp;list=PLfPBohF1uFwoO5wBnYD67i0pbZ6GqrGEd">20th Century Fox / Dawn of the Planet of the Apes trailer</a>It looked like we see Caesar back here in the film's trailer.</div></div></div>At the end of the panel, we were treated to a trailer debut for next summer's movie. We see some soldiers going after apes before they're taken out. We see Caesar come on screen in what appears to be the ape home from the last film.We hear a soldier being asked over a radio, "Did you get the target? Is he dead?" The audience presumes Caesar is the aformentioned target, so, nope, they failed. We get a few shots of Woody Harrelson's colonel and hear his voice say, "All of human history has led to this moment. If we lose, it will be a planet of apes." The trailer culminates with Caesar kneeling at the colonel's feet, a gun pointed to his head. "War for the Planet of the Apes" will be in theaters next July. The first full trailer for the film hasn't made its way online, and you shouldn't expect it to leak. There were a lot of suits on hand making sure phones were tucked away and turned off. Also, the majority of the people in the room were press. When the trailer comes online (hopefully soon!), we'll include it here. <div class="margin-top"> <h3>NOW WATCH: <a href="http://www.businessinsider.com/this-woman-shared-her-beauty-tips-while-fighting-cancer-2016-9">This woman shared her beauty tips while fighting cancer</a></h3> <div> <div> <div class="ooyala-video-player" data-video-autoplay="false" data-video-id="oycml3NTE6mJoJzLx6w5cqMkWvLeAycY" data-player-variable="ooyalapopvideo" id="ooyalaplayer_popvideo" style="width:1280px;height:720px"></div> </div> </div> </div>

Fox showed 7 minutes of the next 'Planet of the Apes' movie at Comic Con and fans loved it

<ul class="summary-list"><li>In this episode of "Good &amp; Bad Acting," we take a look at the best and worst <keyword id="170590" type="TECHNOLOGY" weightage="60" keywordseo="CGI">CGI</keyword> monsters with Kaitlyn Yang, <a href="https://www.businessinsider.com/movie-special-effects-2016-3">visual effects</a> supervisor and founder of Alpha Studios.</li><li>Yang watches and reacts to 12 monster moments from live-action films made possible by digital effects — from Azog in the battle sequence from <a href="https://www.businessinsider.com/lord-of-the-rings-star-criticizes-the-hobbit-cgi-2014-5">"The Hobbit: An Unexpected Journey"</a> to the T. rex in the paddock scene from <a href="https://www.businessinsider.com/jurassic-park-before-cgi-2014-6">"Jurassic Park."</a></li><li>Yang tells us what went right and wrong in each scene, commenting on aspects of the character design, textures, lighting, and scale.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Kaitlyn Yang: The digital spit and the jowl shaking, that moment really kind of broke realism for me in terms of like, oh, this is a CG creation.My name is Kaitlyn Yang. I'm a visual effects supervisor. I have been working in the visual effects field for the last decade, and I'm also the founder of Alpha Studios. Some of the shows I had the pleasure to work on, "House, MD," "The Walking Dead." I'm currently working on the latest season of "Grey's Anatomy."Today we're gonna be talking about movie monsters and the visual effects behind them.This character became the landmark in which we measure so many other creatures that we're trying to bring back to life. And I think what made it really special is having animatronics on set and using computer-generated graphics later on to enhance.It's so key to having actors to react to something and not have it just be, you know, a green ball attached to a rope or attached to a pole or something like that. So, one of the greats, Phil Tippett, you can definitely see all the attention to details him and his team put in, in terms of the texture, how the skin glistens in rain.The beauty of having an animatronic on set is you don't have to really necessarily guess the scale, right, that's a given for you. You're getting the scale of the T. rex's head and the teeth in relation to the kids and to the car, even to the flashlight with the eyes, you're really getting the weight of it.If I had to guess, there's probably wires to make the car flip over. This is a great example of a seamless blend of practical and CG, where you're not really sure where things start and where things ended.But I think it's a great handoff. The pacing and the editing and the framing, each composition is just so masterfully done.So, this scene with the troll, it did try to do a blend of practical and visual, like some of the other films that we saw, right. So, the cutaways, the three characters, whenever you're seeing part of the troll, right, whether it's leg or it's wooden bat, those were practical, but then whenever you see the troll in its full frame, that is a computer-generated creature.There's lots of kind of boundaries, right, that the digital artists have to take into consideration. You have the height of the bathroom stalls and the height of where the sinks are. And then you have these kids that you have to take into relation with how tall and wide this troll is. And you have the really complex issue of adding Harry on top of a CG creature.So, right, this scene is very challenging, especially in the early 2000s. I think what was missing that might have sold this shot a little better is the amount of detail in the skin, right. We just saw in "Jurassic Park," you know, the scales, it has the sheen that we're really missing from this character right now. It's too monochrome in terms of the bumps and where the skin begins and where the jacket starts.I also think we are so used to seeing humans, and one of the tricky parts about this scene is when Harry jumps on the troll. And you can tell that it's not Harry as played by Daniel Radcliffe, but it is a computer-generated Harry. And having two complex characters on screen, relying all on postproduction, I think they did a great job for the time that it is, but there's definitely an evolution of the creatures within this franchise. Harry: Ugh. Troll bogeys. Kaitlyn: Again, we're at nighttime, which gives it just enough of a wiggle room to hide any imperfections. But I think the lighting on this is superb of just kind of how it highlights the silhouette just as you're seeing the tips of the fur of the bear, right. You just get enough details in the right places to really feel the weight of this bear, the size of it, and I think they did great work in terms of character design, really putting themselves into the realm of this movie, where everything is a little bit mutated within nature.I love the sliminess, the patterns on the skin, like we're not sure what's eating away at the skin. The animation on the bear was done particularly well, paying attention to the main and secondary animation, right, with the limp that the bear has, where the eyes is looking, where is its gaze?When the bear opens its mouth, right, the tongue just kind of has that one-second hesitation whether it wants to attack or it wants to explore. I think you can feel the breath coming onto the characters.The cherry on top of great visual effects is sound design. When the bear says, "Help me," in this humanlike way, you're almost getting the sense that, is there still a human in there that it may have absorbed from the past that is trying to come out?With the design of this bear is what's kind of really selling how crazy these mutations are happening in nature, which ties really well within the story. Thorin: Azog. Kaitlyn: Whenever I see large armies like this, I automatically think of the large army of digital artists, right. Especially since the main character used to be an actor in prosthetics, and in postproduction they decided to make this into a full CG character.Azog: [in Orkish] The scent of fear?Kaitlyn: Even though the scene is set at night, I'm not sure where the light source is coming from. I'm seeing an inconsistency in the lighting coming from the sky and how each characters are lit. I also feel a shift in pixel definition.I feel Azog and his orcs, they almost feel too soft, their fur and their textures, whereas we get really detailed facial expressions from other characters. I think the juxtapose is what is adding to the inconsistency of the scene.I think this is a tricky visual problem to solve, of how to keep a human's skeleton, skin, and movement but adding just enough reptilian properties to it, with a tail and with the skin. I think combining the specific actor's facial expressions in this reptilian, scalelike creature design, something about the eyes being so humanlike, I'm not sure if it's selling how menacing this character is.Within this interior lighting as well, we're really seeing the subsurface scattering of the reptilian skin. I think sometimes it's a little bit too detailed, and I think it's making it stand out that this is a CG character.Lizard: There's no need to stop me, Peter. Kaitlyn: I really love the design of this character. It's whimsical in the scariest way possible. Especially in the facial feature, there's such detail to it. There's so many different clusters within the eyeball itself. The number of shots that we see this monster and all the different environments that are run through, I think this is really impressive for the early 2000s. I think it's particularly impressive that we get to see the full body of the monster so early on in the film, especially in daylight as it interacts with so many extras without being hidden by anything. I think they did a great job of mimicking the surroundings, you know, with the shadow. I love the reference of size and the scale and the movement in relation to all the other characters in the scene. It plays together really well. [dramatic music] [monster shrieking] [Hulk growling]Talbot: Take it easy there, buddy. [Hulk growling]Kaitlyn: This Hulk is really reminiscent of the Hulk imagery that we're used to from the comics. We're in early 2000s. This is the beginning of motion capture.I think the facial elements right now are not as detailed as they need to be to sell this character as a main character in the movie. I don't think we're getting that human likeness coming through.Right now, the color, it's this very green-screen green, if you will. I think the strong green saturation is overpowering the frame, right, where you can't really pay attention to anything else because there's nothing else like it in terms of the color palette.I do notice some inconsistencies in terms of scale, like the height of the box in relation to the Hulk's physique. Are the boxes coming up to its knees, right? This is a challenging character, with the size, with the speed that he needs to travel. I think it's especially challenging to keep real physics and specific proportions.What's also really challenging with this scene is we're going from an interior to an exterior, where there's really nothing in frame that's gonna hide this CG character. And it's tricky to have photorealism outside in plain daylight. I call it Baby Hulk, right. We're seeing Baby Hulk in the evolution of Hulk in the Marvel Universe.In terms of color, we definitely see the Hulk gets muted down more and more. And I think as the Hulk evolves, we really see more facial features from the witness cam that the actors are wearing, giving it a reference for the animators to really mold this larger-than-life-size character and give them more personalities, in addition to the sheer volume and size.They really get to see how this character thinks before he acts, as opposed to just attacking everything on the scene. Cage: Hey, hey!Kaitlyn: The textures within this character, it's metallic enough for me to really believe that this is an alien from another planet. And the way that it moves with all the tentacles and the randomness, how it spawns part of its body as it's moving, the shape-shifting nature of these creatures, I can't help it but think what their rigging systems were like for there to be enough controls to give it specific design and animation movement quality but to be technical enough where it doesn't take hours and hours and hours for this character to go from one spot to another.Working so well with all the other CG elements in the scene, right? The smoke, the sand simulation, the dust. I think all the other simulations, the sand, the debris, they're all helping this character to be grounded in this scene.Filming in the daylight will make it difficult for a CG character to fully kind of pull its weight, but having all of the additional simulations I think is what's kind of disguising it just enough for it to kind of visually sell that this character has these particular movements, and it's really their tentacle that's kicking up all the dirt.You're just seeing enough of the character for you to want to see it more. Lex: Your doomsday. [monster shrieks]Kaitlyn: What they did well is the contrast between Superman and how he has this steadiness about him, and then you're getting something completely opposite in his archnemesis in the way you're seeing this sliminess.We're in the dead of night. You're having this dark, moody color palette. I'm not sure, though, with the sliminess of the skin and the way that it's lit, if it's really selling as this menacing character.I think it's always challenging when you have a monster that has more of a humanlike facial expression next to another human, right, maybe the perfect human, who plays Superman. The contrast of that is a little bit hard for the eye. There's still something about it that's not reading photorealistic in the scene that it needs to play in, compared to other characters. The height, the weight, and the scale of this particular character, I think it does change from shot to shot. Also, as they were fighting over the sky, going in and out of these sets, there are times where it's just all CG, and I think our eyes are picking up that these are CG characters on screen, right? We kind of left the world of realism for a little bit.And I think it's because of the small inconsistencies that we're really seeing this character as a CG character, as opposed to a character that's in the realm right now fighting Superman.I believe they were animatronics made for this character to really study the interaction of light. It is especially fitting seeing the two characters right next to a car, as a lot of R&amp;D went in to studying how car paints work in relation to its environment. Essentially, the paint and the texture of the metal becomes a mirror of whatever environment that they're in. All of this was made possible by image-based lighting, where you're taking a high resolution of the surrounding to use as a reference, to light these CG characters. We're at nighttime, and it's especially crucial for us to feel that the characters are grounded in this environment, and image-based lighting is helping us get the lighting and reflections accurately within their suits.I do like the subtle differences in terms of the textures between our hero and our villain. Iron Man does have this shiny quality to his suit, whereas the villain has more of a dull, kind of worn-down-metal look. The design of the villain is working especially well, taking in consideration his sheer size and volume and mass, but he's still able to move with this fluidity that's able for him to keep up with Iron Man. Having small light sources as eyes, the lighting source within the character design is working great for eyelines as well.Iron Monger: Where do you think you're going?Nass: Whosa this?Kaitlyn: "<keyword id="61596" type="ENTERTAINMENT" weightage="60" keywordseo="Star-Wars">Star Wars</keyword>," for many people in visual effects, right, this was our kind of starting point. So, the one thing that's tricky for me right now to believe that this character is really standing in this scene with all the other characters, is the texture within his skin. I think it's too monotonous right now.The amount of detail we have in his skins and in his folds, and also how it interacts with his clothing, right, his robe, right, his shoulder pads, it's so rich in costume design as it stands next to other characters with equally detailed clothing. I think the juxtaposition is making us realize that this is a CG character.I'm seeing in particular with the wide shot of everyone bowing, you can definitely tell a clear divide of CG and practical elements. We're seeing this character standing next to this tree trunk for the majority of the scene, and the similarities in terms of the textures, the details in the tree matching the detail of the skin, with how they're framed next to each other like that, it's not really selling it for me either way, for the character or the forest that they're in.With the design of this character, my eyes are not going straight to its eyes, right. I can't look away from its mouth and its jaw and all the bounciness. There's so much movement in the mouth of this character, and it's giving it so much life, but the eyes are not really giving it as much emotion. The digital spit and the jowl shaking, I think that moment really kind of broke realism for me in terms of like, oh, this is a CG creation. All the muscle movements feel a little too unison. The rubberiness of the entire lower face moving, I think that gets refined in later movies, as we see other characters where you see more of a muscular structure in a way that makes sense to that particular character.Nass: Meesa like these. Kaitlyn: So, we can't talk about good or bad CG without bringing up The Rock from "<keyword id="27609" type="ENTERTAINMENT" weightage="60" keywordseo="the-mummy">The Mummy</keyword>." In this particular scene, I can't imagine what the production was going through, whether it be a time budget or production restrictions. Because we know what The Rock looks like, seeing The Rock's face in this low-res, kind of plasticky feel on this character, how smooth his skin is and how all of his hair kind of moves in chunks within one another, the lack of facial details mixed in in this rich environment where everything else has so much detail, I think that's what's making this painfully obvious that this is not The Rock.In my opinion, the pinnacle of computer-generated work is when we can get close-ups of CG human. And this was made in 2001, right? This was the very beginning. My buddies over at Corridor Digital actually did a breakdown of this job, where they're attempting to fix it and make this character look more like The Rock. As VFX artists, we're constantly running against time and budget. Sometimes we don't have time to make other iterations or really explore another way of solving this visual task. I think it's really easier for us to sit back and judge all these jobs, but I do wanna point out that these jobs were made by people, right.I think it's important to be kind and thoughtful, especially when we don't know the circumstances they were in, that they had to make these difficult artistic decisions.Nass: Being friends.

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