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Kelompok Maya - UAS - DKV REVIEW - LB33
Kelompok Maya - UAS - DKV REVIEW - LB33
Abstract
This research explores the overview of the Avatar and how the
movie brings a new era of motion capture technology. Primary and
secondary data analysis was conducted by assembling information
gathered from manuscripts, journals, and a behind-the-scenes
documentary. Our analysis showed the impact of Avatar on 3d
animated film and the new technology of 360° motion capture
room manages to be the top of the box office in 2009 and held the
title of the highest-grossing film for a decade. The reason we choose
this film is because we deem Avatar as the most intriguing work of
art that captures how far 3d technology has accomplished. We
conclude that Avatar has become the stepping stone of achieving a
new era of motion capture technology. We hope this study to
convey and appreciate Avatar's achievements as it should be
glorified.
1
Introduction
Avatar has contributed to the Film industry. Even before we begin
to dive deep into the subject, we all aware of how this movie shock
the world when it first released. This analysis is crucial because of
not many media platforms display the transformation in the film
industry after utilizing Avatar's legacy such as Techvis,
Performance Capture, and Fusion Camera System. Not only that,
but we also will depict how the newfound technology assists Avatar
becoming the incredible movie we know today.
2
James Cameron’s Avatar
Synopsis
The story starts off in a futuristic earth with Jake Sully, a paraplegic ex-marine who thinks that he
has no more purpose in life. However, his life took a drastic turn when his scientist twin brother,
Tommy Sully, was killed in a robbery. Tommy was supposed to be a part of the Avatar Program, but
now, Jake must take his place. By doing so, Jake and a team of scientists were sent to a faraway moon
called Pandora. There, the human base was operated by the Resources Development Administration
(RDA), who runs a team of scientists and military personnel. The main goal in that planet was to
obtain Unobtanium, a precious mineral that costs 20 million dollars per kilogram. However, further
obtaining this mineral will disturb the natives, called the Na’vi.
The Avatar Program lets humans connect to an Avatar, an artificial hybrid between human and
Na’vi. This program was made by the scientists to peacefully negotiate with the Na’vi so they can
obtain the Unobtanium in a civilized manner. However, the military team felt that it was better to
use force because negotiation is a waste of time. Jake was more on the military’s side, following their
orders, but that soon changed when he met one of the natives, Neytiri. She showed Jake the beauty
of life on Pandora, and it was enough to make Jake change his mind. However, the military was still
focused on taking over Pandora and getting all the Unobtanium no matter what. Then it was up to
Jake and his team of scientists and the Na’vi to protect Pandora from the incoming military attack.
At New World, Cameron worked in number of 2012 Cirque Du Soleil: Worlds Away (Executive
different roles, from art director on Battle Beyond Producer)
the Stars (1980) and the following year he made his
directorial debut with Piranha II: The Spawning 2011 Sanctum (Executive Producer)
(1981). Fail at the box office, the movie encouraged
2009 Avatar (Director, Writer, Producer,
Cameron to write his own material. The result was
Screenplay, Editor)
Terminator (1984) and established Cameron as a
bankable filmmaker. A series of high-the and big- 2005 Aliens of the Deep (Director, Producer,
budget pictures followed, including Aliens (1986) and Cinematographer)
The Abyss (1989), each of which received an Oscar
for best visual effect, Terminator 2: Judgment Day 2003 Ghosts of the Abyss (Director, Producer)
(1991) and True Lies (1994).
2002 Solaris (Producer)
In 1992, Cameron formed his own production
company Lightstorm Entertainment and the 1998 Titanic (Director, Writer, Producer,
following year he cofounded Digital Domain a state- Screenplay, Cinematographer)
of-the-art effects company.
1994 True Lies (Director, Producer,
In 1998, Cameron write, direct, and produce Titanic, Screenplay)
one of the most expensive movies ever made and
broke box-office record and tied Ben-Hur (1959) for 1991 Terminator 2: Judgement Day (Director,
most Academy Awards won (11 Awards). Skillfully Writer, Producer, Screenplay)
blending special effects with a fictional love story,
Titanic stood atop the American chats for an 1989 The Abyss (Director, Writer)
unprecedented 15 weeks and earned more than $2.1 1985 Rambo: First Blood Part II (Screenplay)
billion to become the highest-grossing movie in the
world. 1984 The Terminator (Director, Screenplay)
In 2009, Cameron returned to feature films with 1981 Piranha II: The Spawning (Director,
Avatar, a science-fiction thriller that was noted for Writer)
its special effects. A major box-office success, it
surpassed Titanic to become the highest-grossing 1981 Escape From New York
movie in the world, earning more than $2.7 billion. (Cinematographer)
The movie also received critical acclaim. At the
Golden Globes ceremony in 2010, Cameron 1980 Battle beyond the Stars (Art Director)
received the award for best director and the film
6
Design of Pandora
The organic structures of the Pandoran flora and fauna, the landscapes, and the overall planet
Pandora itself all had design origins on the planet Earth. Every Pandoran creature and plant had
earthly counterparts, sometimes in hybrid forms.
The team who design the world of pandora decides to take a reflection from the real world to make
a whole new planet. That said, the team decides to use the exotic plants, creatures of earth for their
reference and turn them into a whole new bioluminescent lush world of Pandora.
7
Illustration by
Daffa Athafitra - 2301961033
Creatures of Pandora
The Creatures of pandora initially started with an actual animal as well, for example they use horse and
then reinvent the models into having 6 legged instead of 4. Doing a thorough research which result the
team to realized that the remodeling also causing them to reengineer the way they move, react, and
even breathing this is also applies to other creatures as well. Creatures and plants in Pandora designed
to give people the beauty but deadly terms such as wild creatures and numerous dangerous vegetative
living.
Many of the creature designs had to display common features, the most important of which is the
“queue” — antennae-like structures that enable the Na’vi to connect with their steeds. Other key
characteristics for the predatory creatures included super-slick amphibian-like skin, aerodynamic
bodies, and race-car-looking patterns, including racing stripes. Some of the creatures were designed with
special breathing holes located in the trachea, echoing the intake valves of high-performance sports cars.
According Bartoli, creature features are had already been laid out in the script, so there are a lot of ideas
and designs that either weren’t right for Avatar aesthetic or doesn’t work on certain scenes or were held
back due to limitations of telling the story.
According to Tully Summers, one of the creature designers, the fauna was entirely devoid of hair to
avoid a more direct resemblance to their Earthly counterparts. “[It was supposed to] accentuate the
creatures’ other-worldliness. Putting fur on our mammal equivalents would have been redundant and
too obvious.”.
DIREHORSE / PA’LI
The Direhorse was intended to be a creature that Na'vi warriors use for riding and hunting. Conceived
as a sort of horse crossed with a dinosaur, it had to incorporate reptilian aspects while maintaining a
horse's natural grace and glory. The main terrestrial inspiration for the designers was the Clydesdale horse
with its massive scale and strength.
9
THANATOR / PALULUKAN
The most feared land predator on Pandora is the Thanator, similar to a Terrain panther. Originally
Thanator was called Manticore. This was the only design where James Cameron did not have a complete
vision in his head. Designing this animal took months and hundreds of illustrations.
VIPERWOLF / NANTANG
The lean body and graceful motion of the mink inspired the design of the Viperwolf. Jim Charmatz
rendered the concept artwork in Photoshop, then Scott Patton did a 3D model of the head in ZBrush.
HAMMERHEAD / ANGTSIK
Hammerhead is a massive armoured herbivore with a characteristic fan-like crest used for display and
a bony protrusion on their skulls used to threaten predators and for direct offense.
As with all the terrestrial creatures, getting the six legs to work together and make them seem
natural and still beautiful and graceful was one of the greatest challenges. The animators
ultimately achieved a natural-looking gallop by coupling the front four legs, but off-setting the
movement of the first pair by a few degrees.
10
BANSHEE / IKRAN
The references and inspiration for the Banshee (and The Great Leonopteryx, too) came from sea
creatures such as manta rays, skates, and the great white shark. While sea-creature biology informed the
profiles and bodies of the flying creatures, their aerodynamic and hydrodynamic characteristics
incorporated the most current thinking of the way extinct species such as plesiosaurs and pterosaurs
moved through water and air. But the most unique feature of the banshee was the articulation and
mechanics of its mouth and teeth.
The concept of lower gravity on Pandora was the justification for the evolution of giant fliers like
banshee or the great leonopteryx. Both creatures were conceived as bird-like four-winged aerial
predators, extremely colorful and very bright.
11
NA’VI
Na'vi are an indigenous species on Pandora standing 9 to 10 feet tall. Each individual feature unique
characteristics, distinguishable from each other, so that each one has distinctive visible personality and
character.
James Cameron himself made the first sketches for all the Pandoran
creatures including the Na’vi. Those early sketches already featured the blue
skin and feline characteristics such as cat-like eyes, broad leonine noses,
large articulating ears, and tall, slender, muscular bodies.
Na'vi have four fingers on each hand and four toes on each foot, unlike the
human-created avatars which have five fingers on each hand and five toes
on each foot due to the influence of human DNA during avatar genetic
sequencing.
The idea was “to use music both to resonate Create an integrated and logical music culture for
traditional cinematic sensibilities but also to these creatures based on instrumentation of the
introduce a new culture and make that culture of Na’vi soundscape. They felt that it would be
the Na’vis part of our score” – Jon Landau. appropriate in this aboriginal culture to utilize
voices, idiophones and membranophones as the
Cameron recognized the importance of music in primary instruments, with ornamentation and
Na’vi culture; he named the Omaticaya the Clan atmosphere added by aerophones.
of the Blue Flute. In the film, the character Neytiri
refers to the ancient history of the people as the Also, Na’vi vocals can function as another
“time of the First Songs.” instrument and used more as authentic colours
than as actual text. the pervasive use of ethnic
The music needed to be about heart, and it instruments and voices, sometimes lending
needed to be about emotion, specifically authenticity to a film’s cultural or geographical
Horner's intent to emphasize Avatar's love story. milieu. The colors of the Na’vi are almost always
created a score which complements the beauty present in the score, sometimes vibrant and alive
of Cameron’s visuals, instills emotion and pulls in the musical foreground, partially hidden within
out the love story, and narrates this huge epic. the forest of Pandora, or sometimes nearly
But in today’s world, creating unique music that overwhelmed by the western musical
not too recognizable or too weird is challenging. representation of the Sky People.
The increasing awareness of global cultures Even with most of the Na’vi songs was rejected by
make no one musical culture would work to Cameron, Horner still wanted to represent the
become Na’vi music culture. So to make it work, Na’vi in the score. Decisions regarding Avatar’s
Horner and Landau created a library of musical score — whether about number of performers,
elements and performance techniques that instrumentation, timbre, structure, length of cues,
would eventually be melded into a global mash- volume, acoustic or electronic sources — affected
up, fusing musical elements from the numerous the overall character and tenor of the picture.
world cultures into one hybrid Na’vi style Even though we were dealing with an imaginary
without bringing to mind any specific Earth culture, the score still needed it to be a logical one.
culture, time period, or geographical location.
13
Illustration by
Daffa Athafitra - 2301961033
Technology that does not exist before
In 1994, James Cameron already tries to produce Avatar, by forming his own production company
Lightstrom Entertainment and cofounded Digital Domain to do a collaboration with them to make
Avatar into a film to be released in 1999. Cameron, however, felt that the digital effects technology
available at the time had considerable restraints that inevitably needed to be resolved — due to the
fact photorealistic computer-generated imagery was still a relatively new tool for filmmakers. The
director decided to postpone the creation process for the film until his idea could effectively be
convincingly brought to life.
Cameron spent much of the decade exploring the 3-D format on
the hi-def Imax documentaries Ghosts of the Abyss (2003) and
Aliens of the Deep (2005). On both of those films, he partnered
with Vince Pace of Pace HD, who adapted two optical blocks from
Sony’s F950 CineAlta HD cameras to create a 3-D camera with
controllable interocular distance and convergence.
With an eye on Avatar, Pace and Cameron refined their 3-D digital
camera system considerably over the course of their
collaborations. The result of their refinements is the Fusion 3-D
Camera System.
The technology employed on Avatar enabled Cameron to design
the film’s 3-D computer-generated environments (created by
Lightstorm’s in-house design team) straight from his imagination.
By the time Mauro Fiore joined the show, the director had been (Picture: First version of 3D Fusion
working for 18 months on motion-capture stages, shooting Camera, used at Ghosts of the Abyss
performances with actors who would be transformed into (2003) and Aliens of the Deep
entirely CG characters. Glenn Derry, Avatar’s virtual-production (2005))
supervisor, contributed several innovations that helped Cameron
achieve what he wanted. With all the locations pre-built in
Autodesk MotionBuilder and all the CG characters constructed,
Derry devised a system that would composite the motion-capture
information into the CG world in real time.
Finished Film
15
VIRTUAL PRODUCTION
Previz or “Pre-visualization”, is a process to visualize complex scenes in a film for its filmmakers to
“preview” before they are actually shot.
A method of pre-production concept development that
generates preliminary versions of shots or sequences,
predominantly using 3D animation tools and a virtual
environment. It enables filmmakers to visually explore
creative ideas, plan technical solutions, and
communicate a shared vision for efficient production.
Allows the movie production team to experiment with
the staging, layout, look and feel of various scenes in the
movie without incurring the costs of actual production.
Previz can add music, sound effects and dialogue to
closely emulate the look of fully produced and edited
sequences.
It’s visualizing the film as the director wants it to look.
Cameron used previz tools to show him what the
computer-generated characters — who were made to
look as if they were 10 feet tall — would really look like,
inhabiting a completely artificial world, as seen from a
particular camera angle. Pre-visualized sequences of
Avatar with the corresponding scenes in the movie. The
(Picture: Previs for Avatar by Halon Entertainment)
previz was very close to the final product - a testament to
how powerful, and accurate previz can be.
Techviz or “Technical previs”, is the combination of virtual elements with real-world equipment for
the process of planning shots as well as combining already captured footage with virtual assets. It is also
the area where camera moves, camera placement, and lens choices can be validated, mitigating the risk
of physically implausible virtual choices. This also will help define production requirements, set pieces
that might affect green screen coverage and stunt coordinates.
16
STEREOSCOPIC 3D FUSION CAMERA SYSTEM
Stereoscopic 3D cameras were the size of washing machines and weighed 450 pounds. The challenge
issued to production partner Vince Pace was to develop a lightweight, quiet camera capable of shooting
in both 2D and 3D. The result of over seven years of hard work was the groundbreaking new Fusion
Camera System, the world’s most advanced 3D camera.
A handheld ‘virtual camera’, which was essentially The SimulCam, a live-action camera with
a monitor with video-game-style controls on it position reflectors that could be read by mo-cap
whose position was tracked in space. Using the cameras, It superimposed the CG world and
virtual camera during the mo-cap portion of the characters into the live-action photography by
shoot, Jim could see the actors who were wearing tracking the position of the live-action camera
mo-cap suits as the characters they were playing. and creating a virtual camera in the CG world in
the same place. The two images were composited
A virtual camera operates like a regular camera, together live and sent to the monitors on the set
with the added benefit of being able to scale his [as a low-resolution image]. All of this could be
moves to lay down virtual dolly tracks and so on. seen in real time through the SimulCam’s
viewfinder and on live monitors on the set as On-
set previs, allowing the human actors to interact
directly with the CG characters and enabling
Cameron to frame up exactly what he wanted.
(Picture: a handheld
‘virtual camera’)
(Picture: Real-time low-resolution render from
SimulCam)
James Cameron on the virtual set of Avatar. With a
"virtual camera" and OMC, directors can move through a
CG scene as easily they could a real scene with a real
camera.
17
MOTION CAPTURE / PERFORMANCE CAPTURE
Motion capture and computer-generated imagery (CGI) are not new to film. Motion capture (or green
screen technology) was first introduced by Total Recall (1990) in the scene of the x-ray scanner and the
skeletons. Then The Lord of the Rings: The Two Towers (2002) was the first feature film to utilize a real-
time motion capture system. This method streamed the actions of actor Andy Serkis into the computer-
generated skin of Gollum / Smeagol as it was being performed, which convinced Cameron that there was
enough CGI technology to continue developing Avatar.
CGI is traditionally done by placing reflective markers all over an
actor’s face and body, which are then interpreted by computer
technology to create digitized expressions for the CG character.
However, the gulf between human and CG expression, referred to as
the “uncanny valley”, is often quite noticeable.
Cameron and his team developed a new “image-
based facial performance capture”, requiring the
actors to wear special headgear rig equipped with
a camera. With cameras placed just inches from
their face, actors’ every muscle contraction or
pupil dilation was captured and digitized,
creating astounding emotional authenticity to their
Na’avi avatar counterparts. The scope of clarity and
precision of the head-rig allowed for a much larger
capture environment than ever before. Cameron
call it Performance Capture.
SOFTWARE
Autodesk MotionBuilder is one of the industry standards in animation, mocap and virtual production software.
MotionBuilder has found prominent use as a mocap tool in television, games, and films – including notably in
Avatar.
Maya is an industry standard for animation workflow, since many facilities implement extensive proprietary
customization of the software to gain competitive advantage. Most of shot in Avatar are made and rendered in
Maya using Pixar RenderMan.
ZBrush used in Avatar for doing the concept designs such as create the look of the Na’vi people andPandora
Creature. ZBrush is kind of like a digital sculpting tool that works in real time with 2D and 3D effects.
Adobe Photoshop used in Avatar in the concept art and textures. Design modifications and color designs of
Pandora creatures were done in Photoshop that ended up serving as the final design scheme for the movie.
Massive used in Avatar to do things like create the ground cover. This allowed the effects team to grow plants
from digital seeds and the forest to grow in real time.
18
Avatar achievement
The key reasons for the film’s unprecedented
success were its jaw-dropping visuals,
excellent use of 3D, and the immersive setting
of Pandora. Audiences were hyping Avatar
because it was visually spectacular thanks to
technical achievements. These aspects won
Avatar three Oscars in 2010 for
cinematography, visual effects, and art
direction.
22
Avatar’s Legacy
In an interview between Jon Favreau and James
Cameron in DGA Quarterly the spring of 2019, Favreau
mentioned that he studied all of Cameron’s work by
watching them back to back. He stated that it was “very
insightful for him, not just the technology, but how a
career evolves.” Favreau said that you need to see one’s
entire body of work to understand the progress that has
been achieved from the first movie to the last. And
Cameron agrees to Favreau’s statement to an extent, he
himself admitted that he needed to learn from the
mistakes from his past movies, in order to create better
movies. For example, Cameron said that Titanic (1997)
wouldn’t be a good, dramatic and emotional movie if
he didn’t make The Abyss (1989).
But what will Avatar 2 be about? Avatar 2 is said to be set several years after the events of Avatar,
Jake Sully is now chieftain of the clan and Neytiri is their high priestess. It is revealed that the story
will involve their children and water will play a major role in the movie. It is said that Avatar 2 will
have a lot of underwater scenes, exploring the world of Pandora in another point of view. This is one
of the reasons the dates are pushed back so much, because Cameron had difficulties in having the
motion capture technology work in an underwater setting. Directly quoted from Cameron himself,
"That moving mirror reflects all the dots and markers, and it creates a
bunch of false markers. It's a little bit like a fighter plane dumping a
bunch of chaff to confuse the radar system of a missile. It creates
thousands of false targets, so we’ve had to figure out how to get around
that problem, which we did." – James Cameron
“It's never been done before and it's
very tricky because our motion
capture system, like most motion
capture systems, is what they call
optical base, meaning that it uses
markers that are photographed with
hundreds of cameras. The problem
with water is not the underwater part,
but the interface between the air and
the water, which forms a moving
mirror,"
– James Cameron
Before After
26
Conclusion
This study concluded that with the data we have gathered, we can
utilize the knowledge to further credit the hard work put in behind-the-
scenes of movies. We conclude that Avatar has become the stepping-
stone of achieving a new era of motion capture technology, at such an
early time as well. Avatar was a movie that inspired many filmmakers to
create movies with even more sophisticated animation and visual effects.
With the later arrival of Avatar 2, we will most likely see even more
progress in their advancement in technology. Movies today are already
amazing, with breathtaking visuals and hyper photorealistic characters,
so we are very excited and looking forward to what kind of new and
improved discoveries will be made in the future of animation technology.
Credit
2301871201 Christopher Samuel
Section - James Cameron’s Avatar
Section – Avatar’s Legacy
Section - The Ambitious Sequels
Page 4 - 3D Render
2301961033 Daffa Athafitra
Section - Creativity behind the scenes
Section - Technology that does not exist before
Page 8 – Full page Illustration
Page 14 – Full page Illustration
2301914421 Denriansyah Sani Rangkuti
Editor
Cover
Section - James Cameron
Section - Creativity behind the scenes
Section - Technology that does not exist before
2301889243 Selly
Section – Abstract
Section - Introduction
Section - Technology that does not exist before
Section - Avatar Achievement
Page 19 – Illustration
Page 20 – Full page Illustration
27 Page 21 - Image Edit
Personal Task
Question:
Ada tokoh terkenal yang tidak disebut pada materi di atas, yaitu John Lasseter. Siapakah
dia & apa perannya dalam Pixar? (Quiz 1, Week 11)
Answer:
John Lasseter adalah salah satu orang yang penting dalam membuat Pixar menjadi studio
animasi 3D. Seorang direktor animasi Pixar yang memberikan jiwa kepada animasi Pixar. John
yang meyakinkan bahwa Pixar bukanlah perusahaan teknologi melainkan perusahaan yang
berkecimpung didunia entertainment animasi. Sebelumnya Pixar dikenal sebagai perusahaan
bawahan Lucasfilm yang ditujukan untuk membuat teknologi CGI yang dapat membantu
pembuatan film Lucasfilm, terutama VFX. Masa itu, John merupakan animator Disney yang
dipecat karena mempromosikan animasi 3D CGI setelah menunjukan "Tron"(1982) dan
pengajuan pengabungan terhadap animasi tradisional dengan 3D CGI dalam animasi "Where The
Wild Things Are"(1983) dan kemudian bergabung dengan Pixar pada tahun 1984. Di bawah
Lucasfilm, John Lasseter berhasil membuat animasi pendek The Adventures of André & Wally B.
(1984). Setelah teknologi CGI berhasil dikembangkan dan ketidaktarikan terhadap animasi 3D,
Lucasfilm tidak membutuhkan tim Pixal lagi dan segera menjual tim tersebut, yang mana
Steve Jobs membelinya karena melihat potensi Pixar. Disaat ini, John Lasseter menjadi direktor
animasi dan membuat "Luxo Jr." (1986) dan "Tin Toy" (1988). Meski begitu, finansial Pixar tidak
begitu baik. Steve Job pun menjual bisnis hardware Pixar karena keyakinannya terhadap potensi
animasi 3D dan John Lasseter. Disaat itu Disney pun datang dengan harapan untuk mendapatkan
John Lasseter kembali ke Disney, memberikan kesempatan untuk Pixar membuat animasi 3D
full-length dimana John Lasseter menjadi direktor animasi tersebut.
Animasi yang ingin dibuat terinspirasi dari "Tin Toy" dan berjudul "Toy Story"(1995).
Namun perkembangannya tidak berjalan dengan baik, direktor Disney tidak menyukai animasi
itu karena ceritanya dan karakternya yang terlihat kejam, John Lasseter pun menyadari ini.
Karenanya John Lasseter meyakinkan Disney bahwa dia akan mengubah skrip animasi dalam
waktu 2 minggu yang memberikan kesempatan untuk melanjutkan animasi itu. Dan menjadikan
hasil yang Steve Job yakinin menjadi suatu hal yang historikal. Keberhasilan animasi "Toy Story"
ini pun menyelamatkan Pixar dari masalah finansialnya. Setelah kerjasama Pixar dan Disney
berakhir, Disney pun membeli Pixar. Yang membuat John Lasseter menjadi Chief Creative
Officer di Pixar dan Disney Animation Studios.
28
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