On Avatar, I was responsible for designing and animating visual effects screens and holograms—a creative niche at the intersection of film and futurism.

The production posed unique challenges: it was one of the first films shot with James Cameron and Vince Pace’s Fusion Camera System, a stereoscopic 3D rig designed to mimic human vision through dual high-def lenses. Meanwhile, we then employed a proprietary tool to generate stereo layers that meshed perfectly with the film’s immersive aesthetic. The environment, storytelling, and tech all clicked to make the screens feel both natural and otherworldly.

Being part of the design and animation for Avatar meant contributing to a film that reshaped what cinema could look and feel like—where digital displays carried narrative weight and technical innovation carried emotional resonance.