The success of ‘Avatar: The Sense of Water’ continues to foam and doesn’t seem to stop for a few weeks. Failure is likely, as the box office hit of the first part hangs like a ghost to put pressure on James Cameron. which we can verify by looking at Its technological advances do not attract the same attention as the king of the world achieved in 2009,
And that doesn’t mean they aren’t. The CGI is a marvel, the underwater scenes are something that has never been experienced like this On a movie screen, and usually manages to make the narrative seem real, when everything else we see is virtual. But it’s still just a refinement of what we’ve seen, and no matter how much technical prodigy it is, it doesn’t surprise us at all anymore. We didn’t open our mouths but said “everything technical is great”. And the culprit for that is… ‘Avatar’.
Did you get ‘Avatar’
Cameron has always been a visionary and has achieved great technological innovations through his films. In ‘Avatars’ Used a combination of 3D and CGI, mixing real images with defined characters with motion capture, This technique was not new, we saw it in ‘The Lord of the Rings’, but what the director achieved was to manage to do it in real time, so that he could direct the actors while watching the result on screen.
‘Avatar’ also improved the performance of digital actors by shooting scenes a rig with cameras on their heads that took pictures of their faces in full motion In addition to facial features and movements for their animated versions, an entirely new method of inserting new dialogue or facial scans on top of an already composed scene was developed. He also created a camera system that used 3D fusion, which he had already developed in 2003 for his film Ghost of the Abyss.
But the biggest breakthrough, and the one that is being used more and more, is the ability to “operate” within an imaginary world. First of all with the use of simul-cam to give better results to Pandora in real time. using this technique allowed the director to simultaneously view a virtual background while directing, Instead of spending nearly a year looking at the results, only what’s inside the shot, from a rock to a tree and even a leaf, improvised by presenting myself personally with those techniques. Which use 1000 terabyte hard drives.
everything is possible on screen
Creator and Virtual Art Department (VAD) Supervisor Rob Powers pioneered a new approach for directors to shoot a film within an immersive non-linear virtual cinema workspace. Using NewTek LightWave 3D as the main tool, Integrated rendering engine and advanced lighting to deliver high production value For elements captured in real time. From forest scenes to starry nights.
Rob’s VAD team provided detailed templates with its exact location plants, camera movement, shot composition, lighting and even atmospheric cues For the film, which allowed for many unimaginable directorial decisions that previously required months of post-production, Cameron created “Avatar,” perfecting the innovative virtual filmmaking workflow.
Now, We have assimilated these types of green screen techniques and we rely on creativity Of directors, who are sometimes limited to arbitration so that everything works out and little else. There are myriad creative advantages, but the truth is that we don’t seem to be swayed by anything anymore. Anything is possible, so we know that anything can be “animated” for the screen, so there’s a circus element lost along the way.
the audience wants a little more circus
It should come as no surprise that ‘Top Gun: Maverick’ has managed to become a title that has captivated the public and critics alike, driving Tom Cruise a fighter, the fact that Sometimes you don’t know what is supported in CGI and what is real, making the experience more thrilling and dizzy. It’s not necessarily better, but it comes in a year in which the 250 million “Thor: Love and Thunder” shot shots that didn’t quite reach the level of, not just “Avatar,” but even some of the 2002 movies.
The convenience of being able to manage in a digital world also leads to laziness, or a habit among executives, who push impossible deadlines that make everything look the same. is an e Uniformity effect between products which sometimes means no change in lighting or texture, And that’s where ‘Avatar: The Sense of Water’ succeeds, which is to improve on the simulation’s presence in relation to what we’re seeing at Marvel. Perhaps waiting 13 years between projects and not 13 weeks is its reward.
But even with this spectacular visual result, it hasn’t caused the kind of sensation that the original did at the time, and, beware, its innovations can cost a lot of research and work. What makes it clear is that 3D hasn’t caught on in movie theaters and the idea of 48 frames per second is still as bad as when we saw ‘The Hobbit’. Maybe we’re really missing James Cameron who wrecked trucks or played with planes And worked with experts, but the results of his last show are yet to be seen.