We needed to create two different volumes, as we call it, but they had to work in sync with one another, because we need to be capturing someone jumping in above and capturing them below and making all those things work together."
In the process, said Landau, "we realized that the performance capture system that worked above the water wasn't going to work under the water. "There wasn't a lot of information out there on the topic, so it was a lot of trial and error." As methodologies clicked into place, tests graduated to bigger and bigger locations - a scuba training pool where a single figure could be captured in 3D a large outdoor tank that could hold more performers. "We quickly found out that the infrared gets absorbed in water, which is normally how we do motion capture, so we had to go to ultraviolet light that would transmit through water but would also be picked up by the camera sensor," Champney said. But the water itself presented new issues. We're going with the underwater solution.' He didn't even look at the test." Experiments at home, then in Landau's swimming pool, established methods for waterproofing cameras in submersible housings. "We did A-B comparisons to show to Jim and said, 'Can you tell the difference?'" Champney said. Needless to say, Cameron didn't go for it. "And I think Jim has this ability to be, like, we've got to do this whether or not other people adopt this, let's push things forward." At first, production experimented shooting dry for wet, with performers in motion capture suits rigged on wires in the air, approximating in-water movement.
"Most movies get greenlit, there's a couple of months of prep and there are limits to what you can get done," he said. Since 2012, Champney was part of a small team tasked with building on technology used in the first movie and translating it into a water setting without losing the nuances of an actor's performance in the motion capture process. For virtual production supervisor Ryan Champney, the way into "The Way of Water" began in his bathtub. Cameron's sequel required innovation on par with the original: the development of a new, underwater cinematic vernacular, and the technology to capture it.
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