Issue link: https://digital.copcomm.com/i/1495092
and spontaneous play by Trinity Bliss, the young actress who portrays her. This realism of motion extended to our many creatures, necessitating practical stage proxies to be built for riding and interaction. Further complicating this was the need for many of them to exist in the water and be captured in the tank. Not simply bucks, many were puppeteered, worn or piloted to create believable interactions. The production created over one hundred fifty virtual sets across many ecosystems, including from alien jungles, floating mountains, exotic islands, and wondrous oceans, to multiple Na'vi villages of varied woven architecture with all their props and dressing, not to mention every living thing that inhabits these places. Eighty practical sets were built from sections of the larger virtual sets to accommodate live-action photography of human performers in the alien world. From beautifully sculpted and dressed alien roots to foreboding coastal rocks, the NZ construction and greens teams did amazing work executing all of these. Expanding the world of Pandora was a great honor and responsibility and I am eternally grateful for the best teams imaginable across the globe that made it happen. Human/RDA Design Notes from Ben Procter On the "hard surface" side of things, the Art Department had a lot of exciting pieces of the human world to design, from the urban planning of a sprawling new Resources Development Administration base, to high-tech interior sets both large and small, to a large family of brand- new vehicular and robotic assets, and to the extensive screen graphics and holograms used commonly as storytelling tools in our scripts. F. BRIDGEHEAD INDUSTRIAL STREET. CONCEPT ILLUSTRATION BY JOHN PARK. FOR JIM, THIS IMAGE NAILED THE HOT, BUSY FEEL OF BOOM TOWN UNDER CONSTRUCTION. D E F