Issue link: https://digital.copcomm.com/i/1521244
AVA T A R : T H E L A S T A I R B E N D E R | P E R S P E C T I V E 7 3 a collection of vendors all over the world who turned these images into an Unreal Engine type of graphic package. Meanwhile back in the Art Department, we created a plan of what the ground of the Volume space would look like. (D) These plans helped construction, greens and set decoration work out what was required from them. We also made a small white model.(E) This was mostly for directors to help with blocking. But it also helped other departments figure out where to hide lights and equipment INSIDE the Volume space. It took a very coordinated effort to make this all run smoothly. After about six months, the final renders would come back and the set would be installed in the Volume space. (G&H) The image on the wall would then be color-corrected to match the set pieces and then lighting the set could begin. This process could happen overnight or take up to three days. Burned Forest set study model. Six months later. Burned Forest set in volume space with wall turned off. Finished frames from the Burned Forest scene. Burned Forest set completed with wall turned on. Bear statues concept drawings by Peter Rzazewski.