But then it becomes sinusoidal, like a big shark. We then designed the tail so that it can collapse, what we call ‘paintbrushing.’ Sea lions can do this, so that their feet come together, and they can move together. We have what’s called a fluke, which would be very traditional in how a whale displaces-that’s the push it up and down. “And then we tried to bring the character to life with the overall body and language itself. “We kept the expressiveness contained within the eye,” Baneham continues. “It helped evolve the creature from a design standpoint or from a kinematic layout standpoint.” They’re based primarily on sea lions, specifically “the sort of evocative nature of the negotiation in the water,” Baneham explained. Take the ilu, the gray, flippery, stingray-eel-horses with sweet faces that the Metkayina use as underwater transportation. Having Jim at the head of it, he practically does world building while he’s writing." “That’s what gives us a little bit of credibility. “There isn’t anything that’s in the movie that doesn’t have a proper construction and proper understanding of how it would exist and where it would grow and why it would grow that way and who would eat it.” Baneham explains. Every living thing has a corresponding Latin name classification, as if for some Pandoran encyclopedia they are also based, in some way, on a creature that exists on Earth. As with the first movie, the animators have done all kinds of extra work we never see onscreen. When the Sully family-Jake ( Sam Worthington), Neytiri ( Zoe Saldaña), and their four young children-incorporate themselves into the Metkayina clan while hiding out from the Avatar marines who want to kill them, we’re treated to underwater sequences of Na’vi swimming amongst animated coral reefs teeming with marine life that are nothing short of stunning.
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