With “Avatar: Fire and Ash,” Director James Cameron takes audiences back to Pandora in a new adventure centered on Jake Sully, Neytiri and the Sully family. Produced by James Cameron and Jon Landau, the film continues the franchise’s tradition of pushing premium theatrical presentation.
Returning to the series after his work on “Avatar: The Way of Water” and following the remastering of most of Cameron’s earlier films, Trieu brought that long runway of collaboration into the color grade, with a strong sense of what Cameron responds to creatively and how he likes to work. “As always, Jim’s plan dictated that a number of different exhibition masters be created, with variations on light levels, frame rates, aspect ratios, etc., all in the service of every audience member seeing the optimal presentation, regardless of what theater they’re in,” he said
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“My job is twofold: fulfilling Jim’s aesthetic vision for the film and maintaining creative parity across all these different versions, which are each tailored for various exhibition formats to maximize audiences’ experiences,” said Trieu. “We go the extra mile to ensure audiences have the best experience they can.”
Building on the record setting deliverables of “Avatar: The Way of Water,” Trieu needed to accommodate an expanded theatrical mastering pipeline for “Avatar: Fire and Ash,” including HDR by Barco in both 2D and 3D, bringing the total to 16 discrete theatrical masters. The feature was divided into 15 reels, with each reel managed as its own DaVinci Resolve Studio project and built out into multiple timelines for delivery