The Floating Mountains :
According to the linkup - in book , The Art Of Avatar , designer Steve Messing really visited China and traveled around photograph wad there to get photoreferences for Pandora ’s blow mountains .
Designer Dylan Cole says the team search at “ many different type of wad , but chiefly the karst limestone formations in China . There were three main realm , Guilin , Huangshan and Zhang Jia Jie . Other localisation were the Tepuis in Venezuela as well as the karst formations in Thailand . It was about finding that nice counterbalance between rock and botany . For a lot of the jungle over views , I used exposure that I had take from the Kuranda Skyrail near Cairns , Australia . ”
Adds Cole :
One thought that really did n’t make it into the movie is that these mountains are drifting like boat in the water . There was talk about cause them clash and have bits crumble away . I think it would have been a great way of shew the powerfulness and the danger of the place . Hopefully in the continuation !
How do you convey that the mountains are floating though ? Cameron wanted some injection approach the float mickle and the banshee “ rookery ” from above , so Cole and Messing worked on some mental test stroke — one of which became an actual crack in the flick . But when you see the floating mountains from above , how can you tell they ’re not touching the ground ?
explicate Cole , “ the good means to show that they are float is by having a overnice sense of atmosphere or a cloud between the mountain and the priming . ” Messing and Cole also worked on a elephantine 360 - level panorama of the entire float muckle region . Cameron used this in the “ virtual sets ” when he was doing his movement capture filming , and it also served as a “ manner usher ” for the film ’s visual effects , aver Cole .
Pandora ’s Vegetation :
With so many uncanny coloration on Pandora , it ’s kind of striking that most of the vegetation on the planet is just veritable Earth green — except at night , when things begin bioluminescing , of line . And Cole admits that “ for a long time Jim really want all of the vegetation to be cyan instead of immature . In fact , most of my house painting have cyan plants . ” There ’s just one problem with this theme : Cyan is very close to blue , which is often used to show ambience and deepness . Cyan - colour plants “ made it really difficult to have a overnice slack into the aloofness . Our images tended to look monochromatic because of it , as well as cold , because there were none of the rich yellows that come with unripe botany . The other idea is that psychologically we associate green with life here on our planet . The themes of life-time and nature were very significant to Jim , so I think he realized green would be a in effect option . There are still many baseless colored plant , but the overall sense is green . ”
The “ Roger Dean ” Thing :
Some havesuggestedthat Cameron ’s vision of float mountains and Draco draws on Yes masking artist Roger Dean . Says Cole :
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I ca n’t verbalise for Jim , but all of the float mountains and the banshees were all in the script when I read it . I was n’t aware of Dean ’s work until I started the project , when another artist pointed it out . We looked at his work more as a bauble because it was similar subject matter , but it was not really as an influence . Dean ’s work has a whimsical quality that we utterly wanted to avoid .
In plus to working on the landscapes of Pandora , Cole also designed the persona that became the film ’s final posting :
Says Cole :
Jim wanted something bare and iconic that would sell the larger-than-life graduated table of the film . I did the final art of the sunset , and the major planet with Neytiri and then Fox put in the headspring of Jake .
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