One of the main difficulties the crew faced was preventing overhead studio lights from interfering with performance-capture data. According to members of Cameron’s crew, the director insisted on “wet-for-wet.” When it came to realizing those watery scenes, there would be none of the usual Hollywood “dry-for-wet” performance-capture techniques: actors dangling from wires, feigning weightlessness, making vague swimming motions in the air. The screenplay, which he wrote with Rick Jaffa and Amanda Silver, described many scenes in the water and underwater with a semiaquatic Na’vi clan called the Metkayina. With his long-awaited follow-up to “Avatar,” Cameron set about exploring more of Pandora.
These were groundbreaking visual effects in a filmmaking career with no shortage of them, from the shimmering water-tentacle in “The Abyss” to the shape-shifting liquid metal assassin of “Terminator 2: Judgment Day” and a largely computer-generated ship, populated by computer-generated passengers, in “Titanic.” It enabled his human cast to portray the 10-foot-tall, pointy-eared, blue-skinned aliens called the Na’vi, the inhabitants of a jungle moon named Pandora.
For the original “Avatar,” the writer-director James Cameron made extensive use of cutting-edge performance capture technology.
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