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00:00Sous-titrage Société Radio-Canada
00:30It's my job.
00:31Everything that Jake Sully as a Na'vi does, Sam has done.
00:40I thought we lost him.
00:48You can capture the emotion, you can capture the subtleties, the nuances of the movements,
00:54you can capture the eye, you can capture the tics, everything.
00:58Capture it all.
01:00I'll be nice once, and then I won't.
01:04The moment I saw her for the first time, I was just like, you're just so beautiful.
01:09Blue has never looked more beautiful.
01:12This is not a squad.
01:14It is a family.
01:16The amazing thing is that the technology gives me that portal to bring my 14-year-old self
01:21to play this girl.
01:23Avatar's only, go around.
01:25In making a movie set on Pandora, Pandora doesn't exist.
01:31Avatars don't exist at nine foot tall.
01:33We have actors working in a volume with markers on their body, facial head rigs on their head,
01:40and we capture 100% of their performance in the digital world.
01:45At the beginning of the day, the first thing we do is get into the performance capture suit,
01:49and that is a skin-tight two-piece, and it's totally filled with ping-pong-like balls around us,
01:56so they can then track my arm and then translate that into the virtual world.
02:00They have all these little cameras that send these little rays,
02:03which give an image of you moving around, so every little movement is your movement.
02:08And then we put a head rig on, and it's a helmet,
02:11and it has a camera that's right in front of your face.
02:14One of the big advances that we've made technologically on the sequels
02:18is the facial performance capture.
02:20We are capturing a much higher fidelity of performance.
02:24But I know one thing.
02:27This family is our fortress.
02:36I've done a lot of green screen, I've done a lot of blue screen,
02:39but never anything, of course, like this, where there really is no screen.
02:41You're just acting in a space.
02:43Now you must stand with us.
02:47I've always thought that being in the volume is about playing and imagination,
02:50and there is no kind of fear or no shame.
02:53You can do whatever you need to do to get to that truth.
02:56Saving their lives, that's all that matters.
02:58I have had to work completely differently than I ever have before,
03:01and it's been an amazing experience to go back in time.
03:05Why am I different?
03:06It is just remarkable to be able to see the movements and the performance go straight into the character.
03:17It's like, there's Kate, and then, hey, there's Renard.
03:19So that has been fascinating to me.
03:21I find, as a director, I'm much more attuned to the actors,
03:34because that's all I have to worry about.
03:35I'm not distracted by the camera move or the extras in the background.
03:39I'm just there for them.
03:40That's all I care about.
03:41That's all I'm watching.
03:42It's an amazing process.
03:43It's also the only way to do it.
03:45It's the only way to make this film.
03:46It's the only way to make this film.
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