interview: Jon Landau
Rob Redman talks to VFX legend Jon Landau about the technology behind the upcoming Avatar sequels and the possibilities of 3D
The legendary filmmaker discusses the future of 3D and production
Jon Landau, of Titanic and Avatar fame, has more experience in the VFX industry than most and that has given him a particular viewpoint from which to see things. After a sneak peek behind the technology of the upcoming Avatar sequels at FMX 2014 recently – where Jon discussed the development of the ‘Simulcam’, which will allow James Cameron to light his virtual scenes during shooting – Rob Redman caught up with him to talk about the merits of 3D.
“People are looking at 3D the wrong way, either in the computer or in terms of display technology,” reflects Jon before probing further into the state of digital content creation and the changes that are in store for the industry’s future. When modelling, for example, Jon is convinced that we make too many steps and could easily reduce the workload by simply bypassing the 2D stage.
Artists model 3D objects in a 2D workspace. Why should that be the case when the technology exists to create fully in 3D, with inputs that allow translation and manipulation in so many axis?
“You want to be able to see the depth on the scene you’re working,” says Jon, asserting that this should be the norm. “Working at a computer it’s easy to do, with a single viewer and a fixed distance. You don’t need glasses to work in 3D on a 3D screen and that’s where I think people should be
Anybody who is creating something that is ever intended to be built in 3D should be designing it in 3D
going. Anybody who is creating something that is ever intended to be built in 3D should be designing it in 3D. It only makes sense to do it that way.”
Currently we tend to work from technical drawings and concept art, but this could be set to change if Jon is right: “Habit tells us we can’t start from 3D but, with the tools available, you can work in 3D just as easily. For example, if you’re modelling a boat, don’t start from a conceptual drawing. Build it in 3D and then, you know what, you can run a sim on the hull, to see how hydrodynamic it is. That isn’t something you could do ten years ago without visiting a lab, but now you can do it in your home.”
When talking about the common disconnect between the viewer and content, Jon sees two problems. Firstly the glasses used in most stereoscopic display technologies are an issue, as the light through the polarisers isn’t natural and people simply aren’t used to the glasses. “There is a breaking of the suspension of disbelief as well, when an object moves out of the screen; too much, and it reminds the viewer that they are experiencing the story in a slightly unnatural way.”
Jon clearly sees the future of VFX being fully 3D and we now have the skills and tools to work effectively and efficiently, so this is likely to become a reality. He thinks that we just need to change our current mindset and embrace the possibilities. Read our highlights from FMX 2014 at www.bit.ly/183-fmxcb