There was always one camera during the capture process which provided a visual approximation of each character’s look once they got the full blue Na’vi treatment. “You don’t have those awe-inspired vistas,” the editor reveals, “We don’t see that for sometimes years!” “There’s a little bit to indicate what the landscape will be, but we’re focused on editing the performances themselves.” That rough “indication” of the lush landscape is all he has to work with before locking scenes into place and sending them off to visual effects artists. “When we start working on a scene, it is a bare bones, actor’s performance in a capture suit,” he explains. The film delivers non-stop action, but even at its most tense moments, Rivkin assures that every scene truly “comes down to the actors’ performances.” But cutting together a great performance on an “Avatar” film isn’t easy when so many of the final elements are missing from the frame. SEE ‘Avatar: The Way of Water’ reviews: You will ‘leave starry-eyed and in disbelief over what you’ve just seen’
Watch the exclusive video interview above. He edited the project alongside director James Cameron, John Refoua and the late David Brenner, as well as what he estimates is “probably one of the largest editorial staffs in history.” This stacked team was necessary in order to fulfill Cameron’s ambitious vision which required editors to weave together a complex web of live action and virtual footage.
“It is probably, I would say safely, the most complicated way you could ever make a movie,” admits “ Avatar: The Way of Water” editor Stephen Rivkin.
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