Issue link: https://digital.copcomm.com/i/1495092
large number of trips to NZ and Ben stayed there for ten months in 2019, both working hand in hand with the incredibly talented and dedicated crew making up the Avatar NZ Art Department, set decoration department, props department, greens department, construction teams and an army of external fabricators. A gargantuan number of sets were required, with the additional challenge of integrating new Avatar-specific technologies —SimulCam (developed by LEI and enhanced by Weta FX), which allows the crew to see virtual characters and set extensions comped live into the camera feed, and an Eyeline system (developed by LEI) using cable-cam tech to represent a captured performer's position on the set with repeatable accuracy. In NZ, we also worked closely with Weta Workshop, who provided not only creative support for the films but also a large quantity of carefully art directed fabrication. We additionally spent time with Weta FX, the key visual effects facility on the sequels, and its leadership. These personal and creative connections would prove invaluable as we spent the next three years working tightly with Weta FX in the execution of organic and hard surface designs into elaborate, digitally realized assets and shots. We are deeply indebted to our VFX partners at Weta and also ILM for carrying the torch of inspiration all the way to a groundbreaking finish line. Pandoran Design Notes from Dylan Cole As I was responsible for all things native to the moon of Pandora, this was Production Design on a much broader level than most films. This was true world building. Ironically, my name, Dylan, means "son of the wave" in Welsh, so I couldn't screw this up! Philosophically everything was approached with more of a National Geographic lens than that of one from a science fiction or fantasy film. To Jim and us all, this was a real place that we were exploring and discovering. "Because it looks cool" wasn't going to cut it. There was intention behind every design. We were also very conscientious about how alien things were. We strove to create designs that were new but familiar enough that the viewer could instantly understand them. One can't relate to the characters and the story if they don't believe the world. The newest edition to this world was the expansive and diverse ocean biome. Designing this was a monumental undertaking. The production had to answer basic questions of what is sand, rock, coral? How is it different from Earth? We created hundreds D. PAYAKAN PROXY SET BUILD. SET PHOTO. THIS FULL-SIZE SET BUILD FOR OUR TANK WAS A SCULPT OF PART OF PAYAKAN'S HEAD AND BACK. ATTENTION WAS GIVEN TO ANATOMICAL DETAILS LIKE HIS PLATING AND BLOWHOLES SO THAT AS ACTORS MOVED ACROSS HIM, IT RELATED EXACTLY TO THE DIGITAL MODEL. E. DEATH ROCK IN THE WAVE TANK. SET PHOTO BY KIM SINCLAIR. F. ASSORTED SEA LIFE. CONCEPT ILLUSTRATIONS BY ZACH BERGER, CONSTANTINE SEKERIS AND IAN JOYNER. ZBRUSH AND PHOTOSHOP. D E F