In this talk, Eric Saindon (Senior VFX Supervisor), Sam Cole (Sequence VFX Supervisor), and Alexey Stomakhin (Principal Research Engineer) will overview the process of creating Wētā FX’s Oscar, BAFTA and VES winning 3,100+ shots from Avatar: Fire and Ash.
They will reveal how the team blended extensive native stereo photography with CG environments, fully digital performance-captured characters, and physics based coupled effects simulations using new and existing in-house tool sets. Everything was ultimately handcrafted - every character, tree, leaf, pore, sweat drop and insect – to ensure Pandora is a believable world.
The team will dive into the new challenges this third instalment posed: new characters and environments, bigger models, and more water. To accomplish the titular element, fire, the team at Wētā created a new tool aptly named Kora (“spark” in Māori), that allowed for more art directable fire. Additional improvements were made to Wētā's muscle-driven facial system, to stay anatomically plausible, while preserving the intent of the performances.
During this talk, audiences will see how the film is the product of 20 years of close collaboration with filmmakers, and continual technical innovations to achieve the highest quality storytelling and visual spectacle, yet again.
There are few Visual Effects Supervisors who have delivered bigger films than Eric Saindon. All three Avatar films and all three Hobbit films are just the tip of the iceberg. Eric joined Wētā FX in 1999 as a Creatures / Character Supervisor, where he was pivotal in the creation of Gollum for The Lord of the Rings: The Two Towers. Eric first moved into a VFX Supervisor role in 2006 for X-Men: The Last Stand. Since then, he has served in this capacity for most of his projects, while also managing preproduction and on-set duties. Between blockbusters, Eric has shown a deft hand guiding smaller projects like Pete’s Dragon and David Lowery’s The Green Knight. He recently wrapped up work on Avatar: Fire and Ash as Wētā FX’s Senior VFX Supervisor for which he’s won an Oscar, BAFTA and VES award. Eric has been nominated for four Academy Awards®, also winning for Avatar: Way of Water in 2023. He has also been nominated for five BAFTAs, winning two, and has won six Visual Effects Society Awards. He is an active member of the Academy of Motion Picture Arts and Sciences.
Sam Cole is a VES Award winner, multi VES Award nominee and Annie Award nominee. He recently completed working on Avatar: Fire and Ash. Having worked on compositing for The Lord of the Rings: The Return of the King in 2003, he joined Wētā FX full time in 2012 as a compositor after a decade at Fuel VFX in his native Australia where he worked on a suite of international blockbusters. He spent his first three years at Wētā as a lead and supervising compositor on Peter Jackson’s The Hobbit trilogy and on Matt Reeves’ Dawn of The Planet of the Apes. Sam worked on James Cameron’s Avatar: The Way of Water, the culmination of Wētā’s Water Development Project, a cross-departmental endeavour where Sam’s expertise was focused on the compositing tools and workflows. He spent a total of five and a half years on the show and rates it as his career highlight so far. Sam’s first encounter with the world and creatures of Pandora was while working on the Avatar:Flight of Passage ride for Disney Animal Kingdom where he supervised the compositing, rendering and final ride integration, fully path traced at 10k resolution in omnidirectional stereo.
Alexey is a Principal Research Engineer at Wētā FX. Prior to that he was employed at Weta Digital and Walt Disney Animation Studios. He is known for leading the development of Wētā's proprietary Pahi water and Kora fire simulation systems, which powered the groundbreaking effects in Avatar: The Way of Water (2022) and Avatar: Fire and Ash (2025), and winning VES Emerging Technology Awards. At Disney he implemented Splash — a distributed fluid solver with fluxed animated boundaries — that generated most of the water effects in Moana (2016), as well as the studio's material point method engine Matterhorn, used extensively for snow simulation in Frozen (2013). His research focuses on computational solid/fluid mechanics, multi-material interactions and parallel/high performance computing. He earned his Ph.D. degree in Mathematics from UCLA (2013) under the supervision of Joseph Teran and Andrea Bertozzi.