Issue link: https://digital.copcomm.com/i/1544153
PROPERTYMASTERSGUILD.ORG 21 of our props; we created mini-marker sets that allowed us to instantly bring unmarkered props into the volume; and we solved the issue of fabric for capture. After years of design and capture work, we then moved to live action, which felt like we were making another movie entirely. With the help of Melissa Spicer, our brilliant New Zealand Property Master, the amazing New Zealand property team, we were able to build a staggering amount of live-action props for the film. We updated the RDA tech from the first film and changed the color palettes from yellows and blacks to whites and blues to highlight the differences between the first generation of medical technology at Highcamp and the new human technology at Bridgehead. Even when we needed new medical equipment for the older camp, we matched and expanded upon what came before. On the human side, we upgraded from the chunky legacy breather packs to sleeker, more sophisticated versions. We upgraded the data pads with removable wands and different color schemes for construction, medical, and scientific variants. We kept most of the legacy weapons but used color and paint variations to define the separate branches of the RDA military. As much as I wanted to use the legacy dog tags, Jim asked us to redesign it so that it could undo a security screw, which we also needed to design. In a few instances, we were able to adapt existing found objects as was the case with the medical endoscope that is shoved down Spider's throat. It was built on a scope I found locally and did a hasty photoshop paint-over to get approval. Our local team did a great job of turning that around fast! Scale was always a big consideration in moving to live action. Building the Recom AR for techs in the maintenance bay to work on and for Spider to pull from the canoe after it was salvaged, meant we had to build big. It was incredible to hold, load, and work the action on a full-scale AR Weta Workshop made. I'm only human, and this thing was scaled for a 10-foot- tall character. I could list all the props from arrows to grenades and all of the crystal knives we created, but one of my favorites was a water skin for when Spider and his Na'vi group are hanging out on the back of a Tulkun sharing a drink. We built a stunning water bottle that transitions from a virtual version in the hands of the Na'vi to a practical version for when Spider takes his drink. We balanced the scale so that it wouldn't look ridiculously large in his hands but also would feel reasonable in the hands of a Na'vi. It took five mock- ups to find the solution. When built, it was a translucent bladder mimicking internal fish bladders made from food-safe silicone. I then had a team of weavers craft the intricately woven wraps and shoulder strap that housed the bladder. It was practical, beautiful, and when backlit, it looked like a jewel… I was so proud of the entire team that brought that to life. None of this happens without a massive team. Thanks for the trust and guidance from Dylan Cole and Ben Procter. A huge thank-you to James Cameron for bringing me to Pandora. Special thanks to Jaymee Christopherson for managing an incredibly challenging volume and creating a bible of continuity used to the very end of production. Thanks to Greg Finnin for keeping all the capture moving both in the office and in the shop. Thanks to our capture shop: Brent Carpenter, Dave Chamberlain, and, of course, the eternal Lynn Garrido. Thanks to Tara Scheidegger, Patrick Smith, and dozens more who made capture possible and to the New Zealand team, led by the irreplaceable Melissa Spicer. Thanks to the staggering design talent at Weta Workshop, as well as their build teams who brought the designs to life with the highest levels of craftsmanship and artistry. Thanks also to Rubber Band and Human Dynamo for their creations. Thanks to the reshoots team with Theresa Corvino, Brandon Minton and Livi Dom. Avatar was made by people. I'm grateful to them all. I've said it before, but at no time has it been truer: I ride on the shoulders of giants. (L-R) 1ST ASSISTANT DIRECTOR MARIA BATTLE-CAMPBELL, STUNT COORDINATOR GARRETT WARREN, PROPERTY MASTER BRAD ELLIOTT, PRODUCTION DESIGNER DYLAN COLE, DIRECTOR JAMES CAMERON DISCUSS FUNCTIONALITY OF PROP BALLISTA WAR BOW REPAIR DESIGN