'We drive the studio operations team crazy,' says Landau of the lengths to which he and Cameron go to deliver the best possible theatrical presentation.
“For us, 3D is about that window into the world — and not a world coming out of a window. We want the screen plane to disappear and for the audiences to get transported into our narrative story,” Landau tells. “Doing all these things — the 4K, the high dynamic range, the higher frame rate, and the enhanced sound — it transports the audience even more to the world of Pandora.”
“There were colors and details in the banshee that I didn’t know existed. I was saying, ‘Oh my God, look at that. Look at that iridescent quality,’ ” Landau says with a laugh. “When Jake enters the rainforest in the nighttime bioluminescence, the colors, and the detail and the range of colors and how rich your blacks can be and how bright your whites can be, without blowing things out, you go, ‘Wow.
“Forty-eight frames for us is not something that necessarily needs to be ubiquitous in every shot,” says Landau. “Forty-eight frames would not necessarily enhance a closeup. We want to use it as a creative tool … where it helps, but where it doesn’t take you out of the cinematic feeling of a film. It’s a creative tool that you would use just like you would use focus.”
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