Traveling from the lush landscape of Pandora to the oceans in AvatarTheWayOfWater is no easy feat.
’s ambitious blueprint to create an entire new world from scratch. Letteri and his visual-effects collaborator“Water is both a blessing and a curse,” Letteri explains. “It’s really difficult to work with, both in CG and when you’re doing any of the live-action components. But you get moments when you’re working that way that really help tell the story.
It’s this sort of obsessive attention to detail that is as essential to Cameron’s brand as it is for the artists working on a movie at this scale, meant to be seen in three dimensions and projected onto screens as big as buildings. It wouldn’t look right if, for example, all the actors were simply suspended on wires for all the swimming scenes—so, of course, Cameron dunked his cast into a bunch of giant swimming pools and spent time figuring out how to do motion-capture underwater.
When the Sully family—Jake , Neytiri , and their four young children—incorporate themselves into the Metkayina clan while hiding out from the Avatar marines who want to kill them, we’re treated to underwater sequences of Na’vi swimming amongst animated coral reefs teeming with marine life that are nothing short of stunning. As with the first movie, the animators have done all kinds of extra work we never see onscreen.
Take the ilu, the gray, flippery, stingray-eel-horses with sweet faces that the Metkayina use as underwater transportation. They’re based primarily on sea lions, specifically “the sort of evocative nature of the negotiation in the water,” Baneham explained. “It helped evolve the creature from a design standpoint or from aThe star creature, however, is the whale-like tulkun, one of which, named Payakan, befriends one of Jake’s teenage sons.
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