Techniques Used During the Production of Avatar and Wall-E

Since the origins of computer animation, constructing human or humanoid characters has been the holy grail of the developing technology. There are many techniques to make animated films. There are numerous to create those successful ones. James Cameron has decided to create the “Avatar” using the Computer-Generated Imagery whereas Andrew Stanton the director of “Wall-E” has used 96,000 hand-draw storyboards. This essay is going to explore the techniques below. It will also consider focus on what values the directors want to convey under the cover of the created worlds and if the audience is willing to reflect in-depth changes in the society after seeing an animated film.

Firstly, this essay is going to examine techniques of animation. "Avatar" was filmed using virtual camera. James Cameron, known for his expertise in cinematography, applied his experience from previous films such as Titanic to enhance the visual storytelling in "Avatar." By utilizing specially engineered flat screen monitors, Cameron was able to capture the movement in space and meticulously plan each scene, similar to his approach in the cinematography of "Titanic". This allowed him to have real-time control over the digital characters' performances and their seamless integration into the computer-generated universe. Additionally, this technique provided an immediate impression of the planned shots, facilitating the collaborative work and ensuring a visually captivating film. In the case of "Avatar," the avatars themselves were intricately designed mythical creatures with unique human features, a process that involved Cameron's initial sketches that incorporated elements like the iconic blue skin, broad noses, large cat eyes, and other distinct characteristics, ultimately contributing to the visually stunning world of the film.

The producers said that they came to realize that if they wanted the audience to relate emotionally to these characters, there needed to be familiar touchstones. In an attempt to ease the performance capture setting, the actors’ mouth area was taken on as much as it was possible. For the avatars, especially Sigourney Weaver, the similarity to the human character had to be evident, at least for the face. For this purpose, were made special plaster casts and three-dimensional scans of the actors. The general process was followed by the transference to 3D universe. Many films use clay models that are then scanned in 3D and loaded onto a computer. Avatar proceeded differently. The clay model method was used, but in parallel to it the drawings were also edited with a Pixologic software program called ZBrush, with which 3D models were produced directly in a process called sculpting. The models of the characters in life-sizes were made in the Stan Winston Studio.

On the other hand, another successful film “Wall-E”, was made using completely different techniques. Stanton wanted to make his film feel as much real as possible and also bring on the classic science fiction films of the 80s and 90s. To create the story, for Pixar’s employees it usually takes from two to three years. Starting with a script, the film is subsequently storyboarded. The studio used 96,000 storyboards for WALL-E. Finished storyboards were hand-drawn by the artists to the computer saving them as digital images. When the storyboard is finally completed, it is put to filmstrip of the storyboards or a reel. Those objects include an initial version of a dialogue which was recorded by Pixar’s staff. It’s crucial for the filmmakers to do the final animation process with the temporary recorded dialogue. One of the Character art director - Jason Deamer created a small group of artists that had to design the appearance of the characters. Those designs go through a few revisions and many projects are during this process rejected or approved by the director.

Secondly, what cinema and gaming now find in common with three-dimensional computer animation, amongst other things, is a platform for cultural expression that now overlaps and enmeshes itself in all forms of visual media. Wall-E comes to reflect more mature or overtly adult themes found embedded in the main character and world he revolts against, he seems disenfranchised by or critical of environmental degradation, waste, divisions of labour and unbridled consumption. On the other hand, Cameron, has expressed a clear intention to promote in “Avatar” themes that are central to set of practices and beliefs, characterized by a central confidence that nature is divine, has profound value, and is therefore due dignified care. When Cameron was receiving his Golden Globe Award, he said:” Avatar asks us to see that everything is connected, all human beings to each other, and us to the Earth. And if you have to go four and a half light years to another, made-up planet to appreciate this miracle of the world that we have right here, well, you know what, that’s the wonder of cinema right there, that’s the magic” (Associated Press 2010).