00:00This film we think is really the most emotional of the Avatar films to date and that wouldn't be possible
00:06without these incredible performances that we capture and translate with 100% fidelity into their CG characters, which we don't
00:15think is well understood by the general public or even within the industry.
00:19We made a real effort this time around to invite people into our process and to put out materials that
00:28showed how the side-by-sides of our actors' performance and then the finished rendered CG character in that same
00:37moment to try to get that message out.
00:39I think that's what amazes me the most is just the incredible performances we get by Una, Slang, Zoe, Sam,
00:50Kate Winslet, Cliff Curtis, and how that is just preserved with such great fidelity all the way through our very
01:01long production pipeline.
01:02I think they really enjoy the process. I know they really enjoy the process because it is so pure. It's
01:09really just these actors together using their imagination to put them in this faraway, distant place.
01:18They can see kind of a low-res version of the environment they're in just to hold in their mind
01:25and sort of extrapolate from there. But I mean, it's really extraordinary what they do without many of the trappings.
01:33The good news is our process sort of separates the performance aspect from the camera aspect, so they don't have
01:44to deal with, you know, oh, now we're going to do your close-up. Now we're going to do a
01:49two-shot. Now we've got to, you know, you've got to be on this mark. We've got, oh, the dolly
01:53move is here.
01:54They don't have to worry about any of that. They're just working with each other and with Jim directing the
02:00performance. And then when they're off, when they're gone, after we're finished with our performance capture process, we load up
02:09the, we call them camera loads, with the selected performances that Jim has chosen.
02:15And we play them back in that volume. And that's when Jim does his close-ups, his two shots, his
02:22coverage. So they're far, far away and don't have to worry about any of that, you know, hitting a mark
02:28or being in somebody's, you know, way for a shot. And Jim just focuses on cameras.
02:35And that's why he enjoys this process so much because he just has this time with the actors when he
02:41can just focus on them.
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