ILM was called in late in the 'Avatar' development process to help finish a series of the movie's shots.
(Credit: Industrial Light & Magic)Update (11:49 a.m.): Weta Digital has been contacted for comment, and this story will be updated when and if the company responds.
SAN FRANCISCO--About a year ago, with James Cameron's science-fiction epic "Avatar" well under way, it became clear that Weta Digital, the visual effects studio doing much of the computer generated imagery, or CGI, on the project, was a bit in over its head.
At that point, the movie, which opened Friday, was about 40 minutes longer than it ended up being, and what was needed to finish the project was another company that could come in and lend a helping hand--and do so at the same, very high level, that Weta was working at.
And that's where Industrial Light & Magic came in, recalled John Knoll, the Oscar-winning visual effects supervisor tasked with parachuting in to help finish what was, more than on most films, the crucial job of crafting the "Avatar" CGI work.
What followed was months of coordination between ILM, Weta, and Cameron's production company, Lightstorm Entertainment, with a primary goal of ensuring that the two visual effects teams, one in San Francisco and the other in New Zealand, avoided any unnecessary duplication of effort, even as both sometimes found themselves working on effects for the same movie sequences.
For ILM, this wasn't the first time it had been called in to help aid another effects house, but it may well have been the first time it did so for one as big and as accomplished as Weta. To be sure, ILM's overall contribution to the finished film was minor compared to Weta's, but nonetheless critical in helping get the film to its final, finished state, Knoll suggested.
For Knoll, the challenge of working alongside Weta was about identifying a body of work that limited the number of assets the ILM team had to develop and which would allow them to be the most helpful. Ultimately, they were handed the keys to creating the visual effects for many of the specialized vehicles in the film, including the Valkyrie, a large shuttle used to move people and equipment, and several different types of helicopters, as well as the landscapes those vehicles lived in.
ILM was mostly given responsibility for doing the visual effects on the film's aircraft, notably its helicopters and the Valkyrie, a large-scale shuttle.
(Credit: Industrial Light & Magic)ILM also did the effects work on the film's final battle scene, taking responsibility for the shots of all the vehicles taking off, as well as the sequence's cockpit interior shots.
Working together on a scene
For the most part, the teams at ILM and Weta worked on different scenes, but Knoll said there were some in which the two companies handles different parts of the same sequence. An example, he said, was a scene in the film where a group of helicopters attack the giant "home tree," where the Navi, the humanoid alien race in the film, live. Knoll said that the effects in the scene were mainly put together by Weta, but ILM handled all the shots in which the camera looks back toward the choppers.
In the scenes where the two effects houses both were charged with creating shots, the challenge was figuring out how to "checkerboard" the shots, Knoll said, especially because in some cases, ILM didn't know what Weta's work looked like.
"You keep cutting back between ILM shots and Weta shots," Knoll said. "They're really intermixed. I was worried, because we had to get going and go pretty far down the line before we had any Weta shots to refer to. We were both doing development in parallel."
This might have been a serious problem on many film projects, but with "Avatar," both ILM and Weta were working from extremely detailed templates given to them by Cameron. Knoll said that the templates gave his team very specific direction on how they should construct their shots, down to rough indications of the lighting in the scenes.
"It did help that the templates were so specific," Knoll said. "They were very detailed and Jim [Cameron] was very insistent: 'I've put a lot of time into making sure these are exactly what I want them to be, so you need to do a good job of matching that.'"
Still, with both houses working in parallel, there was certainly a bit of a race to finish a shot, Knoll said, because the team that was fastest would be able to more or less set the tone for the whole scene. "Whoever gets there first is who drives it," he said.
ILM visual effects supervisor John Knoll hopes that audiences won't be able to tell the difference between shots created by Industrial Light & Magic and those created by the film's original visual effects house, Weta Digital.
(Credit: Weta)"For example, in the home tree sequence, we have to fire a bunch of missiles," Knoll recalled. "[There wasn't] anything established for what the missile trails look like. We did our own version of the what [they] would look like and Jim liked it, so that's what Weta had to match."
Of course, in other cases, Weta would finish first, and ILM would have to match what the New Zealanders came up with. And in some cases, it was a bit of "splitting the difference," Knoll said. Ultimately, he added, he hopes that audience members won't be able to tell that two separate visual effects teams shared the work.
All-CGI explosions
One benefit for the entire film industry of having ILM step in to help out on "Avatar" may be that in working on the project, Knoll and his team came up with a new way to completely computer-generate large-scale, close-up explosions.
Until now, big fiery explosions in CGI-heavy films have been shot with live camera and then had visual effects added to them. But Knoll said that because of some of the limitation of matching Cameron's templates for "Avatar," there was no practical way to meet the movie's explosive needs with live-action.
"We've done CG explosions in the past," Knoll said, "but never with this level of realism, and never this close up."
Fortunately, ILM had pioneered the rendering of the visual movement of fluids in films like "Poseidon" and "Pirates of the Caribbean," and Knoll knew that the shape and movement dynamics of an explosion were similar to that of water.
"The same underlying engine is being used on this," Knoll said. "The motion of the underlying gas is similar to the motion of fluids. The medium is relatively uncompressable. So when there's movement of the medium, it can't change volume real dramatically. So if you push on one side, something has to push on the other side."
That meant that ILM could take the graphics engine it had created for fluid shots in the previous films and apply the same basic technology for the explosions in "Avatar." Though there are clearly some major differences between fluid and big fire--notably that as fuel burns, fire expands, and then retracts when the fuel goes away, the technique was similar enough that the technology could be adapted to the needs of "Avatar."
"I think this is going to be an important technique (for the industry) in the future," Knoll said, "to tailor-make an explosion that looks good close up."
The fifth paragraph in this story was updated on December 22 to better reflect Knoll's statements of how and when ILM came to be involved in "Avatar" and what the company's impact on it was.
Mattel's i-Tag, a new augmented reality-based toy that comes with 'Avatar' action figures that will be released in October. Could this be the future of toys?
(Credit: Daniel Terdiman/CNET)I have seen the future of toys, and it is augmented reality.
That was my conclusion Monday after seeing Mattel's i-Tags, new technology that will be included with action figures the company will make for "Titanic" director James Cameron's new film, "Avatar."
For those not familiar with augmented reality, it's an overlay of digital information or imagery on top of real-world objects. AR, as it's known, "is a field of computer research that deals with the combination of real-world and computer-generated data (virtual reality), where computer graphics objects are blended into real footage in real time," according to Wikipedia.
Or, as Sean McGowan, a toy industry analyst with Needham & Company in New York called it, AR is "jet fuel for the imagination."
In the case of the "Avatar" action figures, AR is being implemented in the form of small plastic cards--the i-Tags--that kids can hold up in front of any Webcam. When they do, a fully 3D digital image is superimposed over the card on the screen. This can be anything from a simple set of information about a character from the film to a full-on, five-on-five shooting battle involving large military helicopters and flying dinosaur-like creatures called Leonopteryx.
The i-Tags, along with the "Avatar" action figures they're based on, will be released in October in advance of the December 18 release of Cameron's film.
There are five levels of i-TAGs, each of which corresponds to a specific level of interactivity with the AR. At level one--which will cost $8.95 per toy--kids who hold the card up to their Webcam will see some information on their computer screen about the character. At higher levels, though, they'll be able to "push" buttons on the card, allowing them to manipulate the digital character or vehicle that pops up (see video below).
While AR is beginning to show up in many arenas, from video games to movie advertising to baseball cards to exploratory toys, Mattel said that the i-Tag is the first-ever retail toy implementation of the technology.
And let's be honest about Mattel's implementation: it's cool, if fairly limited. At its best, two kids with Level 5 i-TAGs could put their "Battle Packs" to the test and watch as five warriors pop up on both sides of the screen and proceed to battle it out in, seemingly right in front of the kids.
And to be sure, for a 6-year-old, or even a 10-year-old, this could be pretty exciting. But I'm willing to bet a 15-year-old is going to get the maximum out of this system pretty quickly.
Augmented reality has already made it to some markets, as in the case of Topps baseball cards. The Topps implementation was also done by Total Immersion, which is behind the technology in the Mattel i-Tags.
(Credit: Topps)But to me, this isn't about today. This is about what's coming down the line, and what i-Tags and augmented reality making it to the retail market now means for the future of toys. And that's because this, as first-generation technology, is just scratching the surface of what's going to be possible in a year or two when growing public awareness of AR meets lower R&D costs and motivates developers the world over to see what's possible with this new medium.
"It's a very important thing, because the evolution of toys has been about solitary action," McGowan said. "We've had Web sites that interact with toys, but we've been missing the feedback with the toy...We've seen interactive toys 1.0, but nothing that goes back to the toy. I think augmented reality is creating a loop that makes two plus two equal five."
Think about it. The possibilities are just about endless, and could mean a whole new life for the kinds of toys that kids at first play with a lot, and then quickly abandon. By embedding special software in imagery that can be placed just about anywhere on a toy, toy makers will now have an incredibly wide range of virtual things to add to their physical toys.
Whether it's battling aliens or dancing dolls or branded pets, the sky's pretty much the limit for what could be done with AR and toys. And it's not about Mattel at all. Or at least not entirely about Mattel. It's really about the entire toy industry and the imaginative ways that toy designers figure out to build AR into their creations.
Indeed, it may be more accurate to say that, assuming the market is proved out quickly, the only limitations to how to deploy AR in or with toys could be what toy makers can think of.
Instructions on the side of an augmented-reality-embedded toy from Mattel's 'Avatar' collection.
(Credit: Daniel Terdiman/CNET)To McGowan, there really is no limit to what can happen with this technology, but he thinks that it's important that a company like Mattel is taking the step of introducing AR to the market. Yet he also applauds the company for being subtle about AR in its marketing. In part, that's because of the state of the economy.
"Mattel is being smart, and downplaying" AR, McGowan said. "They're not trumpeting it as the hottest thing. They're not saying it's going to set the toy industry on fire. Why set it up that way?"
Yet this is extremely new technology and, so far at least, people don't seem to be putting a lot of energy into embedding AR into toys. Which isn't, of course to say that the technology won't be the next big thing.
McGowan believes there isn't any corner of the toy industry that won't benefit from new technologies like this, whether it's dolls or airplanes or anything else.
"With the concept of play, going back to the stone ages, kids emulate what they see in the world, and emulate what they see adults doing," he said. "It's their imagination that makes things real. And that imagination can be augmented...Every kid has always taken a little paper airplane and imagined they've been flying through the sky. Now that can happen a lot more realistically."
Weblin is a service that allows people to have avatars that appear on the Web pages they visit and communicate with any other Weblin users who are visiting the same pages.
(Credit: Weblin)If you're a social media addict but think that visiting regular Web sites is a lonely experience, you might want to take a look at Weblin.
Created by a German company, Weblin is designed to make the experience of surfing Web sites social--or make services like Facebook or MySpace.com more social. It does so by letting users create an avatar that they can then, effectively, take with them as they move around from site to site.
If they then find themselves on a site that is being visited at the same time by other Weblin users, then they can communicate with each other.
Weblin's main model is a small download, but it is also about to launch a light version that will require no downloads or plug-ins and will simply auto-assign users an avatar rather than them getting to choose their own.
(Credit: Weblin)The main Weblin service is a small download that allows users to register and then create their own avatar. But next week, Weblin plans to launch a light version of the service that requires no download or plug-in and which assigns an avatar to everyone who uses it.
That means that users would have less control over the experience, but at the same time they'd be able to use Weblin without doing anything except use the Web. Additionally, the light version will not require registration. Rather, users will just have to enter a URL into a Weblin page.
Down the line, Weblin says, it hopes to make it possible to integrate Weblin with users' existing avatars from some virtual worlds.
For the time being, of course, Weblin's utility seems like it only comes from there being a critical mass of users and when users visit sites that are popular with others employing the service. But over time, if it grows large enough, it could provide a fun alternative to the traditional way of using Web sites.
On June 10, Geek Gestalt hits the highways for Road Trip 2008. I'll start in Orlando, Fla., and visit many of the South's most interesting destinations. Stay tuned, and be sure to keep up, both now and during the trip, with what I'm doing on Twitter.
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