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07:52Hey, we can have the actors on these motorized creatures that we created
07:57and race them around the tank, but that might be kind of dangerous
08:00if they run into something or run into the wall of the tank
08:02or hit a camera or something like that.
08:09I said, wait a minute, we've got these giant motors
08:11and these giant propellers that can create this flow.
08:14Why don't we make an underwater wind tunnel?
08:17So when you're testing a jet fighter when you're designing one,
08:21you put it in a wind tunnel to see how it behaves.
08:24So you don't move the aircraft through the atmosphere,
08:28you move the atmosphere past the aircraft.
08:30We just did the same thing.
08:31And we just filmed people in situ in the current.
08:44So for the jetivator creatures, they were tethered on a long cable
08:47in a flow that's coming at them.
08:49And that gave us total control.
08:51It was great for capture.
08:52It was great for our reference cameras.
08:54And it was great for the actors.
09:02Jetivator is great.
09:03It's just money underwater.
09:04But at the same token, it's not just like these little DPVs.
09:08You can have them in your hands and just switch them around right underneath your body.
09:12And it will come back on itself really fast and snap you around, which is great.
09:15But we needed to be able to maneuver better.
09:17And that's why Jim decided to design little wings for them.
09:21So now when you're flying this thing along, you could actually use these wings to make it corkscrew.
09:27Cut back on itself.
09:28Whatever it is.
09:29It was so cool to see how the stunt team would drive the sea bobs and everything was there.
09:34But the stunt team and troop members and the fellow actors, that's what made it real when we were all in that together.
09:40And that's when imagination definitely came into play.
09:48Fire! Fire!
09:49It's coming!
09:50Back! Back!
09:51No!
09:52No!
09:53No!
09:54Tuk!
09:55Hold on!
09:56Hold on!
09:57Tuk!
09:58Tuk!
09:59So, in the Similitude Tank, we are testing something we call High Hinge.
10:03And it is the scene where Nateri and Tuk are trying to make their way through the
10:18hold of the sea dragon.
10:22It's a massive cage, about 60 feet long.
10:25And we're vectoring the thrust right into a twisting corridor.
10:29It's going to be a hell of a ride.
10:32Tuk!
10:33Tuk!
10:34Tuk!
10:35Tuk!
10:36Tuk!
10:37Tuk!
10:38Tuk!
10:39Tuk!
10:40Tuk!
10:41Tuk!
10:43Tuk!
10:44Tuk!
10:45Tuk!
10:46Tuk!
10:47Tuk!
10:48Tuk!
10:49You have to hold yourself to an unbelievable standard of knowledge.
10:51You might propose something, or there may be a situation where a character has to do something,
10:55and Jim will intuitively understand the point at which Nateri, who weighs 450 pounds
11:00and is incredibly strong, can no longer hold open a door because of the head pressure,
11:05and that door is going to slam closed, so that now she and Tuk can no longer escape
11:09in that direction as they're fighting for survival in the flooding ship.
11:12Literally, Jim sat down and did some pressure calculations to figure out the volume of water
11:16that would generate that moment, so he could tell us how far up her body the water ought
11:20to be visually.
11:21No!
11:22No!
11:23No!
11:24No!
11:25No!
11:26No!
11:27For the scenes when the ship is sinking and Nateri and I are trying to find our way out,
11:32trying to find our way to our family, and so there's that emotional factor of it, but
11:36there's also the panic as the ship is going down and not even being able to balance as we're
11:41trying to make our way through.
11:43It's like sinking too fast for comfort.
11:47All right, so let's try this.
11:49And action!
11:50All right, so...
12:10But actually, I felt very safe.
12:12I felt very safe with all the crew members and trusting them, but I also felt very safe
12:17safe with zoe because she's so caring and not only the best mom to her kids but an amazing
12:23onset mom because she's right there with you and there for you so it was fun to get to be in that
12:28scene with her and improvise together it was scary it was definitely an escape there's a lot at stake
12:36but you know you're safe and you trust the process and you use it you use it all so if you're feeling
12:43fear that i'm pretty sure that's what natiri is feeling if you're feeling claustrophobic if you
12:48can't breathe all of those things oh great mother oh great mother help us oh god i wish i wish natiri
12:54would have had more scenes underwater because it was so great just to see what everybody did
12:58it was quite beautiful it's a very big tank
13:05and very big and scary once you put all those lessons into practice it became such a rewarding
13:17experience to be in that tank all day for whatever journey your character was going to go through
13:23in the water it was it was quite beautiful
13:44this is uh our family a small tribe from tanua we're here to uh to surprise jim
13:51and others uh with uh with uh with the karakia with a blessing and uh this is uh what we call he
13:58koha aroha so this is our gift of love to you all to wish you all your best on uh the continued
14:05adventures to make something great and something beautiful for the world that we can all be proud
14:10of see a lot of faces i know from the last one so welcome back i see a lot of new faces so welcome
14:27to uh our crazy journey here we got a wonderful kickoff from cliff's cousins and uh so that that's to me
14:36that's the spirit of the film this is a uh this is a new zealand based film in my heart uh new zealand
14:44is my my new home one thing we know working on these new movies is they're harder technically than
14:51the first film we know a lot more so far that's about been balancing out but every single day we
14:59encounter new things we've never seen before and they kind of bite us on the ass we think we've been
15:05preparing this for years they kind of sneak up on us so every once in a while we'll all just kind
15:09of stop and pull our chins and figure it out a lot of smart people on the movie so far we haven't
15:15found anything that we weren't able to solve
15:29we shoot our live action in new zealand and so you can imagine there were many many enormous things
15:34that we built down there that would interface with water in some way
15:41we came to auckland because of the water work on the film and the stages up in auckland has the
15:47only purpose-built dive tank in new zealand
15:53we built an actual 30-foot boat that was a fully functional boat which is kind of crazy nobody ever
15:58does that doing it from the ground up precisely to our science fiction interpretation of reality
16:03design but our art director down there alistair baxter is a naval architect it turns out and
16:08there's a huge boat building industry in new zealand that we could tap into so we built the boat from
16:12scratch and it was a thousand horsepower 45 knot wicked boat that could jump waves and all kinds of stuff
16:21we shot it out in the ocean to do testing
16:23wow that's awesome the amazing thing is when you watch the movie it looks like we were out at sea
16:37there is not one shot of an actual boat at sea in the entire movie people aren't cg the boat's not cg but
16:45the water of the ocean is cg and to do that and we actually captured the true motion of a real boat
16:54and they got real motion in a real swell we applied it to our models then we applied it to the motion base
17:08the physics were all based on that initial capture and we took that capture that was done with that 10
17:13meter rib and blew it up to a 20 meter what we call the kill boat the matador the matador is a massive
17:19ship that can navigate as well as destroy it's kind of a fun ride boat you know it's wind in the hair stuff
17:25it's fast
17:32i like being on boats when they're kind of docked it's kind of cool because i like the boat scene
17:37i just don't like being out in the water so it's definitely all acting three two one face and action
17:51so we of course built a bunch of boats and water vehicles that we're having to flood
18:06so
18:19as jim says the rule of these kind of movies is you have to see the bad guys die horribly
18:24i didn't write the rule and then he said actually i kind of did write the rule but anyway we're gonna do
18:28it in the case of the mako we had to figure out how to dramatically flood these guys out from the
18:38cracked canopy and so it turned out the best way to do that was not to involve tanks of water at all
18:46but to create basically watertight canopy glass
18:49all right
19:02and three two one action
19:19jack champion a spider has several scenes where he had to go in on a breathing mask not
19:35on a breath hold that we had to build and design and make safe for him to swim underwater real
19:41underwater diving masks that exist today would first of all be too obvious and secondly we wanted
19:47it to be better at least better for cinematic purposes so john garvin took the reins of that
19:53problem one of the challenges was of course you know we had to provide a mass that would allow the
19:58audience to see his full face that caused problems with carbon dioxide buildup so every time jack was
20:04breathing into the mask he couldn't re-inhale that co2 we decided not to go for the the obvious lights
20:11inside the dive mass which no diver would would ever consider using because you wouldn't be able to see
20:16anything we thought in the future a heads-up display system would be scrolled across the front lens
20:22that would illuminate the actor's face so there's a lot of sophistication that went into that mask
20:29check your mask make sure it's tight i'm good dumbass so this is the real like full face mask that
20:35i wore for pretty much like hours every single day underwater in the tank i could just be fully in
20:42character underwater and have a real full face mask that worked perfectly and i had a wig on i had the
20:49dreadlock wig so they'd have to like put it over my wig and everything if it ever got a little bit
20:53of water in it i could just press down on here and i don't know the science but it would get rid of the
20:57water and make my face dry and everything else this was a microphone so whenever jim was talking to us
21:03underwater i could say whatever and he could hear it and there's a hose for the air to travel to the mask
21:10and it was always connected to a oxygen tank so yeah it's pretty cool
21:19so here's jack champion 15 years old in a breathing mask grabbing this giant dummy dragging it yeah he
21:25did it he did it and it feels real because he did it pantomime is your enemy you want them to have real
21:32behavior real effort require real strength really be tired the more the world pushes back against the
21:38actor the more the environment or the other creatures pushes back against the actor then it
21:42starts to feel real to them and it doesn't take a great leap of imagination from that point to feel
21:48the fear or the effort or the fury that it would take in battle to be able to do the things that we ask
21:54our characters to do
22:06you really look at what the actor is bringing to the performance emotionally and then you look at what
22:15they're bringing to it physically what's happening with their body what's happening with their faces
22:21it's a multi-dimensional problem bro but it's worth the effort because we see such great performances
22:37are you all right you're too fast wait for us just breathe breathe you are not good divers
22:45maybe good at swinging through trees but come on bro we don't speak this finger talk guys we don't
22:52know what you're saying i will teach you everybody in this film just brought so much to it that
22:58we feel like okay it's on us now to make sure that that's what audiences are getting as well for jim
23:04capturing wet for wet was one of the most important things about this film
23:07he wanted to ensure that people swimming felt like people swimming do you see the right movement do
23:19you see the right muscles flexing do you see the right detail in everything they do underwater
23:25i was skeptical at first and to be honest after seeing the underwater scenes it was well worth it
23:31just seeing the swell of the water moving their bodies around just a little bit there's a little
23:36bit of detail just makes all the difference in the world as long as i've been in this industry
23:43water's been hard one of the things that really impressed me was the performance capture and the
23:49levels that they went to to get these amazing performances that really do just leap off the screen
23:54the actors are basically feeling all the same emotions that we want the characters to feel
23:58they're responding to real inputs real danger and we're capturing all this at the same time
24:04we're capturing their face we're capturing their bodies capturing what happens under the water as
24:07well as over the water
24:09shikma come on hurry please seeing the result of underwater capture
24:18i'm sold i don't think there's any way that we could have done the things we did
24:23and have it be plausible in terms of the physics of the resistance of the water for the actors to do
24:34what they did and our stunt people underwater either we get that weightlessness we get that buoyancy we get
24:43the movement that's struggling against the current
24:45the changes in speed as you're going up or down as you're breaking the water or diving in
24:57it was something that had never been done but that's never stopped jim from doing something
25:03as much as we use computers and technology the heart of the film is the heart of the actor and the heart
25:10of the character so we have to get to the emotional truth in some cases that emotional truth is taking
25:16place underwater so we have to get all that stuff out of the way everything's going to be all right
25:22little sister mom i'm gonna give this to you it'll help you it drives me nuts when people say oh sigourney
25:35voice kiri like on an animated film you sit at a podium you do the script takes you a day maybe two
25:42days to voice a character sigourney worked on these two films for 18 months she did everything it's about
25:49the physicality it's the entire face body voice breath performance it's everything and sigourney she's not
25:5715 years old she was game for everything
26:00we try to honor the actors we try to never get creative and make an expression into something that
26:10it wasn't they're not a human character but we try to take the humanity from the actor and implant it
26:17into that cg character i think people think you just wave a magic wand we don't use generative ai
26:24it's all performance capture so we're not just making up images out of nothing people work for
26:30years on the design on the fabrication of the clothing the fabrication of the props and the
26:36performers whether they're the stunt players or the actors themselves are doing everything that you see
26:42a character in the movie doing the kind of emotional reaction that you get watching these scenes
26:48you're not going to get that unless the actors bring their top game it's very physical really hard
26:55immersive work and i can imagine how people would think well this cartoons or it's not really them
27:03or something but it is really those actors putting life and blood into every single one of those
27:11characters creating that energy creating that environment heightened passionate
27:18fiery people everyone's really doing it like more than you could possibly imagine
27:26nice breath
27:30everything that we developed for land and everything we developed for water continues into
27:36fire and ash we have underwater scenes we have surface scenes we have a lot of the things that
27:40we pioneered for movie two in fact actually they were all kind of shot at the same time
27:44so it was solve it once and then you've solved it for all the sequels
28:02jim spent many many years trying to find a way to recreate water with technology but coming down to the
28:09conclusion that he needed to build technology around performances it's not about the recreation of water
28:17it's about creating technology that allows you to work in water with water once he figured that out then
28:25the rest i guess was a piece of cake for james cameron and i'm grateful for that because it gave us the
28:32ability to work with an element that is interacting with you at all times water interacts with you so you
28:39need it
28:52thank you great mother thank you
29:09thank you
29:31and now here's an exclusive look at our new film avatar fire and ash coming to theaters this december
29:39the spider
29:42kill you
29:45shit get back
29:50stay behind me stay behind me
29:56cut off
29:59behind us
30:09uh
30:19uh
30:21uh
30:29uh
30:31uh
30:33uh
30:35how is he breathing with no mask i can't even think about that right now we gotta get in there
30:51is not our air poison to sky people
30:59how do you still live every the because it is the will of ewa
31:16yes
31:25if i cut now do you think ewa will come to save him
31:33come on get these off me come on they're gonna kill him
31:37do you think
31:42no your goddess has no dominion here
32:07but i think that's it
32:14and that's it
32:16so
32:18and that's it
32:24and that's it
32:25and that's it
32:28and that's it
32:30so
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