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Cinematography in avatar

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It is with the challenge to bring forth a digitally crafted world that has a grip on reality that Mauro presents imagery of intergalactic romance that leaves stunning looks to all the viewers and a sense of awe at its mode of production. The natural look created by the use of bold rays of sunlight that penetrate Pandora jungle is a significant turning point created by the cinematographer and increases the sales. Mauro’s captivating previous work in the 2003 epic, Tears of the Sun, has been hired and used to create outlandish treatment of tropical foliage premise. The film is a 3-D camera system that incorporates the use of high-definition video and motion takes to create a science fiction epic.

Shooting in 3-D camera system combined with Sony’s F950 CineAlta HD cameras was a lengthy process in which two cameras recorded one image from two separate angles on same horizontal plane (Dsouza 63). The distance of separation of the two cameras, the interocular determines the extent of appearance of an image in the screen. The shooting is thus enhanced by the durability of the camera and the threshold for light.

The imagery composed of an inside image of the laboratory scenes and an exterior environment of the Pandora shrubs which had to be merged to create the physical set. The backdrop is cast on a green screen including the light source. The lighting on set on characters and structures is such that the sun is placed as it would be in Pandora. I loved this film right from the onset to its ending because of capturing and captivating ability.

The film begins with a calm scene of researcher and flows through thrilling scenes to culminate into war and victory setting of the Na’vi clan. The pace of the movie is not so fast and the language used is moderate for ease of understanding of the viewers. It does not incorporate much noise as can be evidenced in other action movies of its kind. The production is clear, and this actually depicts the amount of time actually used or consumed in the production process to generate an epic of its kind.

The visual used has indeed enhanced the story. The crew has been efficient in determining the lighting plan, visual sets and fixtures and so was able to know how to work on low ceilings and beams of support (Dobbie 86). Platform garments and robot tools were used to enhance the scene and the production crew had to ensure that the lighting was above and still maintain the green sheen. In this case, the converging and interocular would be maintained in the images.

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