How James Cameron Pulled Off Avatar: The Way Of Water

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A phrase you’re likely hearing a lot is ‘don’t bet against James Cameron’. Not only does he hold two of the top five slots for highest grossing movies of all time, they are both non-franchise films unlike their confreres benefitting from the Marvel or Star Wars label. Thirteen years after we went to Pandora in search of Unobtanium and the peaceful one with nature lifestyle of the Navi we’re back again. Now our main characters are foregoing the forest for the only thing that James Cameron loves as much as high concept films with innovative filming techniques, the oceans. Hiding out with the sea Navi people and learning their ways provides a whole new slate of challenges. At its core Avatar Way of Water is a hybrid animated and live action movie. But this is no Who Framed Roger Rabbit and blending the live action with the crazy no way world of Pandora takes a level of detail and innovation that has made James Cameron the icon that he is. Thirteen years ago Avatar revolutionized not only new cameras, but new post production and production techniques to develop Real3D, the most dynamic 3D the world had seen. So impressive it became expected that blockbuster movies would include a 3D release. But no one 3D’d like Cameron 3D’d and to prove that he’s developed all new cameras and stereoscopic devices like the Sony Venice and the CineAlta 3D system. Along with the same techniques that allowed IMAX cameras in the cramped cockpits of F-18s has been used to submerge 3D and motion capture equipment into the 900,000 film tank to create a movie that looks like no other. What's the most interesting bit of tech created for this movie? Let us know in the comments and be sure to like and subscribe for the latest videos in your inbox.

Chapters:

0:00 - Intro
0:15 - Sony Venice
1:32 - CineAlta 3D
2:25 - Underwater Mocap
3:24 - Global Illumination
4:12 - RenderMan
5:23 - Frame Rates
6:25 - Story
6:54 - Buckets of Money
7:24 - Signorny Weaver

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Written by: Ryan Carbrey
Narrated by: Noah Marks
Edited by: Moᵌ

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