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Editor William Hoy — working on VFX-heavy War for the Planet of the Apes
By Mel Lambert

For William Hoy, ACE, story and character come first. He also likes to use visual effects “to help achieve that idea.”
This veteran film editor points to director Zack Snyder’s VFX-heavy I, Robot, director Matt Reeves’ 2014 version of Dawn of the Planet of the Apes and his new installment, War for the Planet of the Apes, as “examples of this tenet.”

War for the Planet of the Apes, the final part of the current reboot trilogy, follows a band of apes and their leader as they are forced into a deadly conflict with a rogue paramilitary faction known as Alpha-Omega. After the apes suffer unimaginable losses, their leader begins a quest to avenge his kind, and an epic battle that determines the fate of both their species and the future of our planet.

Marking the picture editor’s second collaboration with Reeves, Hoy recalls that he initially secured an interview with the director through industry associates. “Matt and I hit it off immediately. We liked each other,” Hoy recalls. “Dawn of the Planet of the Apes had a very short schedule for such a complicated film, and Matt had his own ideas about the script — particularly how the narrative ended. He was adamant that he ‘start over’ when he joined the film project.

“The previous Dawn script, for example, had [the lead ape character] Caesar and his followers gaining intelligence and driving motorized vehicles,” Hoy says. “Matt wanted the action to be incremental which, it turned out, was okay with the studio. But a re-written script meant that we had a very tight shoot and post schedule. Swapping its release date with X-Men: Days of Future Past gave us an additional four or five weeks, which was a huge advantage.”

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postPerspective Impact Award
winners from SIGGRAPH 2017

postPerspective has named the honorees of
the Impact Awards from SIGGRAPH 2017.
And the winners are...

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Review: Polaroid’s Cube+
By Brady Betzel

There are a lot of options for outdoor, extreme sports cameras. The Polaroid Cube+ HD camera
is not much larger than a few sugar cubes.

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Behind the Title: 3008 Editorial’s
Matt Cimino and Greg Carlson

“Our job is to enhance the story directly or
indirectly and create the illusion of depth, space and a sense of motion with creative sound design.”

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Pixomondo streamlines
with Thinkbox’s Deadline

Big Block adds comedy
director Richard Farmer

IBC’s Michael Crimp talks
about this year’s show

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