AVATAR - 2009
My first contact with writer/director James Cameron was in 1991 when I was a visual effects Art Director at Lucasfilm's Industrial Light & Magic. At the time, ILM was hard at work on the ground breaking digital effects for Terminator 2, the sequel to Jim's highly successful science fiction action film of 1984, The Terminator. As part of this process, Jim would regularly visit the ILM facility to review progress on shots and provide feedback -- a situation which afforded me the opportunity to introduce myself and share examples of my work.
Over the following decade and a half, our paths crossed multiple times and on each occasion I would seize the opportunity to emphasize to Jim my great interest in one day working with him.
Then early in 2006, it became clear that my words to Jim had registered, as I received a call from Jon Landau, the producer of Avatar (then called Project 880), inviting me to come join a small team of artists who were just beginning pre-production on the film. My role would be that of the lead vehicle designer, a post I went on to hold for nearly three years.
Working directly with Jim, as one of his "Design Lieutenants," I co-developed all the vehicles seen in Avatar with exception of two -- those being: The ISV Venture Star, the large intergalactic spaceship that arrives at planet Pandora in the opening of the film -- and the Valkyrie shuttle, the arrow head shaped craft that brings Jack Sully from space down onto the tarmac of the Hell's Gate installation on Pandora's surface.
Please note: relevant text will appear above the image and a mouse click will open a larger version of the work or provide access to alternative studies, versions, or views.
Over the following decade and a half, our paths crossed multiple times and on each occasion I would seize the opportunity to emphasize to Jim my great interest in one day working with him.
Then early in 2006, it became clear that my words to Jim had registered, as I received a call from Jon Landau, the producer of Avatar (then called Project 880), inviting me to come join a small team of artists who were just beginning pre-production on the film. My role would be that of the lead vehicle designer, a post I went on to hold for nearly three years.
Working directly with Jim, as one of his "Design Lieutenants," I co-developed all the vehicles seen in Avatar with exception of two -- those being: The ISV Venture Star, the large intergalactic spaceship that arrives at planet Pandora in the opening of the film -- and the Valkyrie shuttle, the arrow head shaped craft that brings Jack Sully from space down onto the tarmac of the Hell's Gate installation on Pandora's surface.
Please note: relevant text will appear above the image and a mouse click will open a larger version of the work or provide access to alternative studies, versions, or views.
AVATAR - PLANET MINING
While at ILM in the early 1990s, I had an opportunity to learn and work with several 3D modelers and though I found each to be exciting and interesting, given the complexity, and often counter-intuitive nature of their interfaces, did not find these tools to provide much value with regards to my conceptual design work flow.
This all changed however, in early 2004 when an architect friend of mine introduced me to Sketchup, at that time developed and owned by @Last software of Boulder, Colorado. This simple modeling tool allowed for fast and intuitive object creation with just a small number of simple tools -- and the native renders that Sketchup produces are perfect for presentation, as they look more like carefully prepared sketches than labor intensive renders. After just a few hours of working with the potent little program, it became an indispensable part of my design tool set.
These things as they are, even with Sketchup just one click away, I typically begin my design development curve by sketching -- my foundational thinking tool. What follows is a note card sketch done for the Massive Excavator featured in just a couple of shots at the opening of Avatar.
This study sketch was done in pen on 8" x 5" note card.
This all changed however, in early 2004 when an architect friend of mine introduced me to Sketchup, at that time developed and owned by @Last software of Boulder, Colorado. This simple modeling tool allowed for fast and intuitive object creation with just a small number of simple tools -- and the native renders that Sketchup produces are perfect for presentation, as they look more like carefully prepared sketches than labor intensive renders. After just a few hours of working with the potent little program, it became an indispensable part of my design tool set.
These things as they are, even with Sketchup just one click away, I typically begin my design development curve by sketching -- my foundational thinking tool. What follows is a note card sketch done for the Massive Excavator featured in just a couple of shots at the opening of Avatar.
This study sketch was done in pen on 8" x 5" note card.
As a nod to the power of sketching, next up is the final version of the excavator which was passed along to the digital effects department for additional surface detailing. This design was actually done very late in post production when needs for it were high -- the entire design curve, from sketch to model, was completed in just over a week.
Images are native Sketchup renders. Mouse over for alternative views.
Images are native Sketchup renders. Mouse over for alternative views.
The huge RDA truck below is visible in early shots of the mining operation and again driving across the landing tarmac in Hell's Gate with giant Navi arrows protruding from its wheels. Other than constant adjustments of the drivers compartment relative to the larger vehicle, the design development of this vehicle was fairly linear, from research, to sketch, to massing model, to final presentation model.
Once approved by Cameron in gray tone at this level of finish, I would work with an illustrator bring the design up to the next level of finish, and then the entire design package would be passed along to the various departments for integration into the large production.
Images are native Sketchup renders. Mouse over for alternative views.
Once approved by Cameron in gray tone at this level of finish, I would work with an illustrator bring the design up to the next level of finish, and then the entire design package would be passed along to the various departments for integration into the large production.
Images are native Sketchup renders. Mouse over for alternative views.
AVATAR - GROUND ASSAULT VEHICLE
Originally designed for the Avatar video game, this ground assault vehicle was was added into the Hell's Gate arrival sequence after it was presented to Cameron as part of a large game development package.
Images are native Sketchup renders. Mouse over for alternative views.
Images are native Sketchup renders. Mouse over for alternative views.
AVATAR - AMP SUIT (AMPLIFIED MOBILITY PLATFORM)
Originally called the "Power Suit," this humanoid war machine was one of three vehicle designs that took the most effort to get from script page to final design -- the other two being the Samson Rotary aircraft and the Dragon flying attack and command vehicle.
There was little detailed description of the power suit in the script other than it was to be operated by a single pilot who motivated the moments of the larger "robot" by moving his or her own limbs around inside of a sealed compartment.
The height of the machine was set by Jim to be just at 13' high, as it was to relate in a specific way to the relationship in height between humans and Navi. If a human confronts a Navi, they are faced with a formidable opponent -- a man of 6' is dwarfed by the average 9' Navi and in such a contest a Navi victory is all but insured. However, put that same man in an AMP suit, and the tables are turned, the 9' Navi is now towered over by the 13' metal giant. This is what happens near the climax of the film when enraged security officer Quaritch climbs into his AMP suit to do battle with Jake Sully in his avatar form -- visual story telling at its finest.
After talking over what Jim had in mind, I produced a series of preliminary sketches -- this one being the very first.
This drawing was done in pen, gray tone added in Photoshop -- it measures 11" x 15".
There was little detailed description of the power suit in the script other than it was to be operated by a single pilot who motivated the moments of the larger "robot" by moving his or her own limbs around inside of a sealed compartment.
The height of the machine was set by Jim to be just at 13' high, as it was to relate in a specific way to the relationship in height between humans and Navi. If a human confronts a Navi, they are faced with a formidable opponent -- a man of 6' is dwarfed by the average 9' Navi and in such a contest a Navi victory is all but insured. However, put that same man in an AMP suit, and the tables are turned, the 9' Navi is now towered over by the 13' metal giant. This is what happens near the climax of the film when enraged security officer Quaritch climbs into his AMP suit to do battle with Jake Sully in his avatar form -- visual story telling at its finest.
After talking over what Jim had in mind, I produced a series of preliminary sketches -- this one being the very first.
This drawing was done in pen, gray tone added in Photoshop -- it measures 11" x 15".
After a couple of rounds of sketches, Jim identified a basic set of proportion that he felt were heading in the right direction and asked me to continue with my investigation. However, the idea he really underscored in this early meeting was the need for the AMP suit to be simple -- he wanted it to feel strong -- more like a tank than an aircraft. Sealed against the elements, clad in a strong outer shell, and with as little surface detail as possible -- "nothing to catch up in the bush or hooked on a branch." In this next set of studies, the design movies in this direction.
This next set of sketches reflects this direction of investigation. Sketches done in pen, gray tone added in Photoshop -- mouse over for alternative views.
This next set of sketches reflects this direction of investigation. Sketches done in pen, gray tone added in Photoshop -- mouse over for alternative views.
At the end of this series, Jim and I discussed the design of the legs, which I then broke out and worked up in another series of sketches. Shortly thereafter we decided to move on to 3D investigation -- the process we would rely on for the remainder of the conceptual development process.
Images are native Sketchup renders. Mouse over for alternative view. Note the evolved leg design.
Images are native Sketchup renders. Mouse over for alternative view. Note the evolved leg design.
After reviewing the early 3D model, we returned to the sketches and pulled some of the stronger details into the new design. Here the shoulders can be tracked back to the study sketches. Image is native Sketchup render.
After a great number of additional refinements and tweaks, the exterior of the design was far enough along for it to be passed along to the main VFX company on the show - Weta Digital located in Wellington, New Zealand. Though not a fully realized design with regards to the interior, the surface detailing, and paint and color scheme, the design was far enough along to answer a great many questions pertaining to the execution of the larger show.
In preparation for the pass-off, or what we call it in production, "the turn over," I created this design book. Images are native Sketchup renders -- graphics and notations added in Photoshop. Mouse over for alternative views.
In preparation for the pass-off, or what we call it in production, "the turn over," I created this design book. Images are native Sketchup renders -- graphics and notations added in Photoshop. Mouse over for alternative views.
In the design book above, the emphasis placed on assessing the mechanical capabilities of the design relevant to animation of the machine can clearly be seen.
This kind of checking of concepts and tolerances extended into the design of the canopy and manner by which it opened and operated. Early on, it seemed as if the canopy could simply hinge up like a clam. However, after looking into how Jim intended to block the scene, it became clear that the narrow opening created by such a simple hinging system would limit how an actor would be able to access the cockpit. Additionally, the sides of the canopy itself would (when in the open position) block a large portion of the compartment -- greatly limiting the angles from which an actor within could be photographed.
To compensate for these issues, I devised a method of mechanically raising the canopy prior to it tilting back -- thus increasing and access to the compartment. What I proposed was a pair of "hatch drivers" which ran up and down in rails set into the side walls of the main cockpit compartment. These "hatch drivers" would carry the pivot point of the canopy hinge upward prior to it tiling back, and that made the difference -- not an easy operation given that the side walls angled inwards.
This type of "on the fly" design change happens often when taking any kind of design from the conceptual sphere into reality. Though no two situations will ever be alike, learning to be mindful of such potentials, and preparing oneself to approach unexpected circumstance without undo heartache and/or dread is an important facet of being a well rounded designer.
Sketchup renders -- graphics added in Photoshop.
This kind of checking of concepts and tolerances extended into the design of the canopy and manner by which it opened and operated. Early on, it seemed as if the canopy could simply hinge up like a clam. However, after looking into how Jim intended to block the scene, it became clear that the narrow opening created by such a simple hinging system would limit how an actor would be able to access the cockpit. Additionally, the sides of the canopy itself would (when in the open position) block a large portion of the compartment -- greatly limiting the angles from which an actor within could be photographed.
To compensate for these issues, I devised a method of mechanically raising the canopy prior to it tilting back -- thus increasing and access to the compartment. What I proposed was a pair of "hatch drivers" which ran up and down in rails set into the side walls of the main cockpit compartment. These "hatch drivers" would carry the pivot point of the canopy hinge upward prior to it tiling back, and that made the difference -- not an easy operation given that the side walls angled inwards.
This type of "on the fly" design change happens often when taking any kind of design from the conceptual sphere into reality. Though no two situations will ever be alike, learning to be mindful of such potentials, and preparing oneself to approach unexpected circumstance without undo heartache and/or dread is an important facet of being a well rounded designer.
Sketchup renders -- graphics added in Photoshop.
The "hatch drivers" system illustrated with cockpit in place. Sketchup renders.
As I hinted towards above, once the turnover of the design book had been accomplished, a great number of design related issues remained. At this point in time, my role as art director blossomed, as I moved from day to day design tasks to overseeing the work of a number of designers. This next illustration was one of several prepared by designers at Weta proposing surface details which would allow for the approved design to be brought up to a photographic level of detail.
Upon receipt of such proposals, I would make suggestions, weed down the number of choices, and meet with Jim for review. Then with his input in hand, I would execute his directives, then trouble shoot and art direct until the next scheduled review.
Upon receipt of such proposals, I would make suggestions, weed down the number of choices, and meet with Jim for review. Then with his input in hand, I would execute his directives, then trouble shoot and art direct until the next scheduled review.
A close up photo of the finished full sized prop constructed at Stan Winston Studios (now Legacy Effects) located in San Fernando, California.
Another small adjustment -- once animation tests began (in the digital realm), questions arose as to where the best placement of the cockpit latches would be. I prepared a few ideas for Jim's review, and his preferred choice quickly made its way into the pipeline. Sketchup renders -- graphics added in Photoshop.
Photo -- Implementation on full size prop.
The last issues to be addressed with regards to the AMP suit was the placement of the instrumentation inside the pilot compartment. To address this, we returned to where I began my professional career, building with plywood, tape, foam core, and hot melt glue guns.
Knowing the exterior dimensions of the AMP suit were locked, several talented sculptors at Winston Studios and I set about mocking up the interior volume of the cockpit. As this work was all done to scale, it was simple to climb up inside of the space and check the actual ergonomics that resulted from the implementation of conceptual ideas.
With simple adjustments to the foam board -- a quick cut here, and a line of glue there -- we quickly developed a workable scheme for the control surfaces and gained a keen perspective on what the operators view lines would be like.
Knowing the exterior dimensions of the AMP suit were locked, several talented sculptors at Winston Studios and I set about mocking up the interior volume of the cockpit. As this work was all done to scale, it was simple to climb up inside of the space and check the actual ergonomics that resulted from the implementation of conceptual ideas.
With simple adjustments to the foam board -- a quick cut here, and a line of glue there -- we quickly developed a workable scheme for the control surfaces and gained a keen perspective on what the operators view lines would be like.
After approval by Jim, and a great amount of effort by the very talented people at Winston's, here is the final result. Photo of actual full size AMP suit prop.
A pair of shots taken of the completed AMP suit prop just prior to it being sent over to the set for actual photography.
As one can imagine, on a show as large and complex as Avatar, Jim's time was stretched extraordinarily thin, so minimizing the number of minutes he needed to expend on all but the most important creative decisions was of paramount importance. As such, he set up the production in such a manner as to only meet with a key number of people, his generals, who were expected to be his eyes, ears, and voice out in the far reaching corners of production. Playing such a role on a ground breaking picture such as Avatar, let alone for a man who has not only shaped the state of modern film making, but whom I hold in the highest esteem, will forever provide me a great sense of accomplishment and satisfaction. Viva James Cameron!
AVATAR THEATRICAL TRAILER
©2012 TyRUBEN ELLINGSON