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  • There are different ways to make films that have CG characters.

  • What we're interested in with performance capture is the totality of the performance.

  • Physical, emotional, facial, the eyes, everything.

  • The actor creates the emotion; the actor creates the moment.

  • It's our job to make sure that everything the actor did is preserved in their CG character.

  • You are very hard on them.

  • I'm the father, it's my job.

  • Everything that Jake Sully as a Na'vi does, Sam has done.

  • I thought we lost them.

  • You can capture the emotion, you can capture the subtleties, the nuances of the movements.

  • You can capture the eye and capture the ticks, everything, capture it all.

  • I'll be nice once then I won't.

  • The moment I saw her for the first time, I was just like you're just so beautiful.

  • Blue has never looked more beautiful.

  • This is not a squad. It is a family.

  • The amazing thing is that the technology gives me that portal to bring my 14-year-old self to play this girl.

  • Avatars only. Go around.

  • In making a movie set on Pandora...

  • Pandora doesn't exist. Avatars don't exist at nine ft tall.

  • We have actors working in a volume with markers on their body, facial head rigs on their head and we capture 100% of their performance in the digital world.

  • At the beginning of the day, the first thing we do is get into the performance capture suit and that is a skin-tight two-piece and it's totally filled with ping-pong-like bulls around us,

  • so they can then track my arm and then translate that into the virtual world.

  • They have all these little cameras that send these little rays which gives an image of you moving around, so every little movement is your movement.

  • And then we put a head rig on and it's a helmet and it has a camera that's right in front of your face.

  • One of the big advances that we've made technologically on the sequels is the facial performance capture.

  • We're capturing a much higher fidelity of performance.

  • But I know one thing. This family is our fortress.

  • I've done a lot of green screen, I've done a lot of blue screen but never anything of course like this where there really is no screen. You're just acting in a space.

  • Now you must stand with us.

  • I've always thought that being in the volume is about playing an imagination and there is no kind of fear or no shame.

  • You can do whatever you need to do to get to that truth.

  • Saving their lives. That's all that matters.

  • I have had to work completely differently than I ever have before and it's been an amazing experience to go back in time.

  • Why am I different?

  • It is just remarkable to be able to see the movements and the performance go straight into the character. It's like, there's Kate and there's Ronal.

  • So that has been fascinating to me.

  • What is this? Tonowari. What is this?

  • I find as a director, I'm much more attuned to the actors 'cause that's all I have to worry about.

  • I'm not distracted by the camera move or the extras in the background, I'm just there for them.

  • That's all I care about.

  • That's all I'm watching.

  • It's an amazing process.

  • It's also the only way to do it.

  • It's the only way to make this film.

There are different ways to make films that have CG characters.

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