There was nothing repetitive or consistent about the constantly evolving previs work on AVATAR, Halon Ent. tells AWN.
There was nothing repetitive or consistent about the constantly evolving previs work on AVATAR, Halon Ent. tells AWN.
Each member of Halon's team that was involved in the project changed their tasks frequently. Bradley Alexander, who started off as previsualization supervisor, was the only member of Halon involved at the early stages of the project.
Alexander's role of CG supervision expanded when director James Cameron delegated the organization and planning of the third act battle to Halon. Alexander worked on most of the third act virtual camera shoots, collaborating with other artists to make sure things went smoothly.
Jerry Kung took the lead on many sequences and evolved into a CG supervisor as well. Andrew Moffett took the lead on many sequences and ended up becoming one of the sequence leads for Halon. Jeremy Agamata was one of Halon's virtual cinema artists and Ignacio Pena took the role of stage operator. Daryl Bartley was Halon's 3-D tracking lead for all the alternative content scenes that required camera tracking and object tracking.
All of the artists worked on asset creation, asset manipulation, MotionBuilder scene building (stitching, combos), kabuki (video facemask) generation, scene troubleshooting, animation fixes and environment tweaks.
