Issue link: https://digital.copcomm.com/i/426326
www.postmagazine.com 22 POST NOVEMBER 2014 DAWN OF THE PLANET OF THE APES VISUAL EFFECTS Director Matt Reeves worked with DP Michael Seresin on this Fox reboot, which was shot natively in 3D stereo. Weta Digital's senior visual eff ects supervisor and four-time Oscar winner Joe Letteri oversaw the complex VFX process, which called on the talents of hundreds of artists and technicians, and ultimately amounted to thousands of shots. "I lost count," recalls Reeves of the VFX shot count. "There's probably a couple of thousand, but then every shot is a VFX shot in a sense, as some- thing is going on somewhere in the frame." Stefan Sonnenfeld performed the DI, using Blackmagic Design's DaVinci Resolve system. He went for a darker look than the 2011 fi lm, Rise of the Planet of the Apes, and paid close attention to bringing out the apes' high level of detail. GRAND BUDAPEST HOTEL DIRECTING Wes Anderson puts his unique fi ngerprint on each of his fi lms, and the 2014 Fox Searchlight feature The Grand Budapest Hotel is no diff erent. The release brings back many of his regular collaborators, including Adrien Brody and Bill Murray, and stars Ralph Fiennes, who plays the concierge of a grand hotel prior to the second World War. Modern VideoFilm's senior supervising DI colorist Jill Bogdanowicz worked closely with the director to create the distinct look of the fi lm's 1930s, 1960s and 1980s time periods. "Wes is very particular, of course, and very detailed," she says of the collab- orative DI sessions. Bogdanowicz used Blackmagic Design's DaVinci Resolve to treat the feature, working out of Molinarie in London for part of the process, before returning back to Modern VideoFilm in Burbank to complete the job. BOYHOOD BEST PICTURE Boyhood is a truly unique and inspiring eff ort from director Richard Linklater, that spanned the course of 12 years, shooting for just a few days at a time, once a year, from 2002 to 2013. The real challenge here, and what makes the fi lm standout, is the aging cast over the course of the fi lming, the technological advancements that made some of the tools obsolete during the process, and the intimate and riveting end result. OSCAR OUTLOOK BY MARC LOFTUS & LINDA ROMANELLO With awards season nearing, it's not too early to look at some of the year's top features