Avatar: The Way of Water | 16 DEC 2022 | Don't worry guys, critics like it

[Deuce66]

7 minutes ago, Pure Spirit said:

It's amazing how good that is, just seeing the camrip is an experience.

 

Exactly a camrip of a 3D film, I need to see this in person at some point to experience the kind of 3D that Cameron is talking about. 

 

 

[Morieris]

27 minutes ago, Deuce66 said:

Flight of Passage with rider reaction while it's happening lol!!! watch in 1080HD - hope this guy is not in my theatre for Avatar II. 

 

 

 

 

 

"Why do we have to wait another four hours to ride this ride?" 🤣

[TomCruiseTop]

13 hours ago, DMan7 said:

Where are all these new JC fans coming from? Are we having an epidemic? 

There's about 1/100th of the number of comic book boys. Buckle up.

[Pure Spirit]

22 minutes ago, JamesCameronScholar said:

There's about 1/100th of the number of comic book boys. Buckle up.

1000 Marvel/DCEU/Star Wars fanboys on BOT and nobody bats an eye. It’s all part of the plan. 10 Cameron fans and everyone loses their mind.

Edited June 7, 2018 by Pure Spirit

[IronJimbo]

8 minutes ago, Pure Spirit said:

1000 Marvel/DCEU/Star Wars fanboys on BOT and nobody bats an eye. It’s all part of the plan. 10 Cameron fans and everyone loses their mind.

Imagine BOT in 2021 early DEC, we'll have a small Army read for Avatar 3 after Avatar 2 made >$4b and was incredible

[IronJimbo]

Pretty interesting read about the editing in Avatar (would link the article but it has auto audio playing somewhere in the background)

 

After sharing an editing credit on “Titanic” with two other people, helmer James Cameron planned on cutting “Avatar” by himself. But even the indefatigable Cameron soon found there was simply more sheer work than he could handle. Eventually he again found himself with two collaborators on his billion-dollar blockbuster: John Refoua and Stephen Rivkin.

 

“Our original projections about how the film would be (edited) were predicated on an early test with a simple scene of two people talking — but pretty much everything else in the film is not two people talking,” says Cameron, acknowledging that “the amount of labor and hours required … was probably our biggest underestimation. It quickly became clear that I wasn’t going be able to do everything.”

 

 

At first Cameron resisted the idea of hiring other editors, thinking, “How do you bring someone up to speed when there’s no one in the world who knows how to do this other than within our group? We’re starting from scratch with a new process. The answer: get smart guys and have them figure it out with you.”

 

Cameron hired Refoua first, but then “we realized that John would not be able to handle it all, so we brought in Steve.”

 

Editing “Avatar” was complex largely because most of the film’s footage consists of performance capture, a technology that offers many more editorial options than straight live action. It also let Cameron exercise his perfectionism and explore a process that goes way beyond standard live-action editing by giving him the ability to isolate and combine the best individual actor performances from each take.

 

In fact, the team had to invent new terms or meanings for what they were doing, such as a “stitch,” a “combo” and a “load.”

 

As Cameron explains: “You might like Zoe (Saldana) from take four and Sam (Worthington) from take eight. Now you’re doing a ‘combo.’ Or you like Zoe from take four until a certain line of dialogue, then from take seven. Then you’re doing a stitch — stitching her motion together.”

 

Rivkin elaborates: “Normally, when you shoot a live-action movie, and there’s more than one actor in a shot, you’re limited to the performances in that take. In ‘Avatar,’ after the performances were captured, Jim often wanted to combine performances from different takes into a camera ‘load’ — or section of a scene — and build a composite from different performances.

 

“We were able to create a ‘master’ that had the best performances from every actor — combining actors in the same load and ‘stitching’ them together if necessary,” Rivkin adds.

 

“We could also use the performance capture from two different takes of the same actor, which could be made into a continuous take, so you aren’t limited by one particular performance. The first line can be from one take, the next line from another.”

 

The goal was “to have every option available,” Rivkin emphasizes. “Some actors peak at take one, some at take 10. By combining different performances in the same load, you have the flexibility to create the best possible master.”

 

This “building of performance loads was one of the most complex workflows you can imagine,” Rivkin observes.

 

The three editors worked together closely. “Steve and I were right next to each other, Jim was down the hall,” says Refoua, who got a longer gig than he bargained for when he joined the project. “Originally I came on for just six weeks to help out. I was still there 120 weeks later.”

 

Rivkin, who also worked for 2 years on “Avatar,” was anticipating a break after working on two “Pirates of the Caribbean” films back to back when he got the call from Cameron.

 

“Jim was looking at a set on his viewfinder. Nothing was there on the stage, but in his camera there was a whole virtual world. … He showed me some of the stuff they were working on and I realized that day that this was an extraordinary project.”

[TomCruiseTop]

1 hour ago, IronJimbo said:

Pretty interesting read about the editing in Avatar (would link the article but it has auto audio playing somewhere in the background)

 

After sharing an editing credit on “Titanic” with two other people, helmer James Cameron planned on cutting “Avatar” by himself. But even the indefatigable Cameron soon found there was simply more sheer work than he could handle. Eventually he again found himself with two collaborators on his billion-dollar blockbuster: John Refoua and Stephen Rivkin.

 

“Our original projections about how the film would be (edited) were predicated on an early test with a simple scene of two people talking — but pretty much everything else in the film is not two people talking,” says Cameron, acknowledging that “the amount of labor and hours required … was probably our biggest underestimation. It quickly became clear that I wasn’t going be able to do everything.”

 

 

At first Cameron resisted the idea of hiring other editors, thinking, “How do you bring someone up to speed when there’s no one in the world who knows how to do this other than within our group? We’re starting from scratch with a new process. The answer: get smart guys and have them figure it out with you.”

 

Cameron hired Refoua first, but then “we realized that John would not be able to handle it all, so we brought in Steve.”

 

Editing “Avatar” was complex largely because most of the film’s footage consists of performance capture, a technology that offers many more editorial options than straight live action. It also let Cameron exercise his perfectionism and explore a process that goes way beyond standard live-action editing by giving him the ability to isolate and combine the best individual actor performances from each take.

 

In fact, the team had to invent new terms or meanings for what they were doing, such as a “stitch,” a “combo” and a “load.”

 

As Cameron explains: “You might like Zoe (Saldana) from take four and Sam (Worthington) from take eight. Now you’re doing a ‘combo.’ Or you like Zoe from take four until a certain line of dialogue, then from take seven. Then you’re doing a stitch — stitching her motion together.”

 

Rivkin elaborates: “Normally, when you shoot a live-action movie, and there’s more than one actor in a shot, you’re limited to the performances in that take. In ‘Avatar,’ after the performances were captured, Jim often wanted to combine performances from different takes into a camera ‘load’ — or section of a scene — and build a composite from different performances.

 

“We were able to create a ‘master’ that had the best performances from every actor — combining actors in the same load and ‘stitching’ them together if necessary,” Rivkin adds.

 

“We could also use the performance capture from two different takes of the same actor, which could be made into a continuous take, so you aren’t limited by one particular performance. The first line can be from one take, the next line from another.”

 

The goal was “to have every option available,” Rivkin emphasizes. “Some actors peak at take one, some at take 10. By combining different performances in the same load, you have the flexibility to create the best possible master.”

 

This “building of performance loads was one of the most complex workflows you can imagine,” Rivkin observes.

 

The three editors worked together closely. “Steve and I were right next to each other, Jim was down the hall,” says Refoua, who got a longer gig than he bargained for when he joined the project. “Originally I came on for just six weeks to help out. I was still there 120 weeks later.”

 

Rivkin, who also worked for 2 years on “Avatar,” was anticipating a break after working on two “Pirates of the Caribbean” films back to back when he got the call from Cameron.

 

“Jim was looking at a set on his viewfinder. Nothing was there on the stage, but in his camera there was a whole virtual world. … He showed me some of the stuff they were working on and I realized that day that this was an extraordinary project.”

People who underestimate Jim are out of their minds. The man is nothing short of a living god. 

[IronJimbo]

 

No way that body of Quaritch survives... as Jim says no one dies in science fiction. Hinting at some clone shit and the Avatar program has already shown they can grow a full size adult humanoid in just 4 years.

[dashrendar44]

4 hours ago, IronJimbo said:

Pretty interesting read about the editing in Avatar (would link the article but it has auto audio playing somewhere in the background)

 

After sharing an editing credit on “Titanic” with two other people, helmer

James Cameron planned on cutting “Avatar” by himself. But even the indefatigable Cameron soon found there was simply more sheer work than he could handle. Eventually he again found himself with two collaborators on his billion-dollar blockbuster: John Refoua and Stephen Rivkin.

 

“Our original projections about how the film would be (edited) were predicated on an early test with a simple scene of two people talking — but pretty much everything else in the film is not two people talking,” says Cameron, acknowledging that “the amount of labor and hours required … was probably our biggest underestimation. It quickly became clear that I wasn’t going be able to do everything.”

 

 

At first Cameron resisted the idea of hiring other editors, thinking, “How do you bring someone up to speed when there’s no one in the world who knows how to do this other than within our group? We’re starting from scratch with a new process. The answer: get smart guys and have them figure it out with you.”

 

Cameron hired Refoua first, but then “we realized that John would not be able to handle it all, so we brought in Steve.”

 

Editing “Avatar” was complex largely because most of the film’s footage consists of performance capture, a technology that offers many more editorial options than straight live action. It also let Cameron exercise his perfectionism and explore a process that goes way beyond standard live-action editing by giving him the ability to isolate and combine the best individual actor performances from each take.

 

In fact, the team had to invent new terms or meanings for what they were doing, such as a “stitch,” a “combo” and a “load.”

 

As Cameron explains: “You might like Zoe (Saldana) from take four and Sam (Worthington) from take eight. Now you’re doing a ‘combo.’ Or you like Zoe from take four until a certain line of dialogue, then from take seven. Then you’re doing a stitch — stitching her motion together.”

 

Rivkin elaborates: “Normally, when you shoot a live-action movie, and there’s more than one actor in a shot, you’re limited to the performances in that take. In ‘Avatar,’ after the performances were captured, Jim often wanted to combine performances from different takes into a camera ‘load’ — or section of a scene — and build a composite from different performances.

 

“We were able to create a ‘master’ that had the best performances from every actor — combining actors in the same load and ‘stitching’ them together if necessary,” Rivkin adds.

 

“We could also use the performance capture from two different takes of the same actor, which could be made into a continuous take, so you aren’t limited by one particular performance. The first line can be from one take, the next line from another.”

 

The goal was “to have every option available,” Rivkin emphasizes. “Some actors peak at take one, some at take 10. By combining different performances in the same load, you have the flexibility to create the best possible master.”

 

This “building of performance loads was one of the most complex workflows you can imagine,” Rivkin observes.

 

The three editors worked together closely. “Steve and I were right next to each other, Jim was down the hall,” says Refoua, who got a longer gig than he bargained for when he joined the project. “Originally I came on for just six weeks to help out. I was still there 120 weeks later.”

 

Rivkin, who also worked for 2 years on “Avatar,” was anticipating a break after working on two “Pirates of the Caribbean” films back to back when he got the call from Cameron.

 

“Jim was looking at a set on his viewfinder. Nothing was there on the stage, but in his camera there was a whole virtual world. … He showed me some of the stuff they were working on and I realized that day that this was an extraordinary project.”

 

Rumor has it that David Fincher has the same editing process lately, I'm pretty sure I read that he used it on Gone Girl stitching multiple takes in one single performance seamlessly. Like blending two actors performing from separate takes into one shot because he didn't like how either one came across together. That's quite mind-blowing.

 

[TomCruiseTop]

20 hours ago, dashrendar44 said:

Rumor has it that David Fincher has the same editing process lately, I'm pretty sure I read that he used it on Gone Girl stitching multiple takes in one single performance seamlessly. Like blending two actors performing from separate takes into one shot because he didn't like how either one came across together. That's quite mind-blowing.

 

Fincher is one of the few directors I respect as much as Jim, a real master of his craft. I just wish he'd put out more movies. 

[IronJimbo]

27 minutes ago, JamesCameronScholar said:

Fincher is one of the few directors I respect as much as Jim, a real master of his craft. I just wish he'd put out more movies. 

It's almost as if Finch has gone into hiding! It's been a complete blackout for a while now.

[WeneedtotalkaboutKevin]

On 6/7/2018 at 2:12 AM, DMan7 said:

Where are all these new JC fans coming from? Are we having an epidemic? 

No one can say for sure that they are not the same person. 

[LaughingEvans]

It's just a fad

[IronJimbo]

34 minutes ago, WeneedtotalkaboutKevin said:

No one can say for sure that they are not the same person. 

when Avatar 2 makes 4 billies remember that all those tickets were me

[TomCruiseTop]

1 hour ago, WeneedtotalkaboutKevin said:

No one can say for sure that they are not the same person. 

Get out of here with the hinduism, no one can say we're all not the same person. 

[IronJimbo]

 

[DMan7]

1 hour ago, IronJimbo said:

 

 

Two geniuses in a room.

[TomCruiseTop]

Wish there was a role for Arnold in the sequels, although I guess he's busy doing his own thing and probably doesn't want to strain himself too much. 

[TomCruiseTop]

Reading comments on articles people don't seem to realise just how much Avatar made, they think IW can still beat it. Are people really this out of touch? 

[IronJimbo]

The /r/movies subreddit is the worst when reading about box office and Avatar.

If anyone in here is a masochist enjoys self hurt take a look in this thread

 

I'll post some of the best bits here so sorry in advance.

 

Flamma_Man

2.3k points·17 hours ago·edited 15 hours ago

Honestly, even if it was a day behind Avatar, this run to two billion was far more impressive, like you said, for being a Summer release.

Not to mention having SOME competition to bite at its legs like Deadpool 2 and Solo: A Star Wars Story.

 

RazielKainly

168 points·15 hours ago

Avatar was a novelty. It was the first well done mostly cg movie with immersive 3D.

Take out the visual prowess and it was a barebone plot with subpar acting

3D is now a fad and most people have been used to all the crazy cg since then.

Expect Avatar 2 to not top $1.5 B

 

allusernamestakenfuk

  58 points·17 hours ago

I hope it surpasses that overrated crap of Avatar

 

BeeCJohnson

  75 points·16 hours ago

It blows my mind that Avatar is still at the top. I haven't heard anyone mention the word "Avatar" outside of box office discussions in like a decade. Nobody cares about that movie.

How is it still at the top? It had zero cultural impact.