Avatar: The Last Airbender was the first show I worked on after joining Dimension, providing an excellent introduction to virtual production. It offered a variety of environments to create and new challenges to tackle, making it a valuable learning experience. The show did spend a lot of time in post-production with a lot of the VP shots being replaced unfortunately but a few did make it to the final cut and they looked great.
I worked heavily on the burnt forest environments along with a few other artists. This was one of the more successful environments with most VP shots staying in and it also featured in the trailers. I mainly worked on the layout and dressing, materials, and optimization. Most of the assets came from packs on the Unreal Marketplace and Quixel Megascans. I made a shader for the trees to add wind, sway, color variation, and the ability to vertex paint parts of the trees to look dead or burnt. A big optimization pass was needed which involved making LODs and lightmap UVs which were missing from many of the 3rd party assets.
The Omashu Arena was the first environment I worked on when joining Dimension. A lot of the elements were built practically and scanned which I re-topped or remodeled and textured. I set up a world-aligned layered rock material to tie to assets together and give the impression it was all carved out of solid rock. The look did go through a lot of iterations requested by the client.
The Spirit Oasis was another environment I worked a lot on, I did a range of tasks including level dressing, modeling and texturing assets, shader work, optimization, and lighting. It was a challenging scene to work on due to the limitations of using baked lighting with foliage.
I was brought on to the Northern Water Tribe city environment towards the end to do some optimization and to make some particle effects for blowing snow and mist. The large scale really hit the limitations of UE4 and much of It was taken over in post by Image Engine.
I didn't do too much work on Agna Qel'a throne room, mainly just some cleanup, optimization, and a bit of lighting work. The view out of the windows was achieved with scene captures of the Spirt Oasis and northern water tribe city levels.
I also did some work on the snow shader and made a bunch of blowing snow particle effects for some of the snow scenes
I was challenged to make some misty cloud effects for Roku's Mountain. I couldn't use volumetrics due to the limitations of using them on the wall. so I generated a bunch of flip books using EmberGen to be used in a particle system that would flow over the terrain using a generated height map. Due to the tricky lighting scenario, these ended up not looking good enough, unfortunately. The talented Alex Jenyon came up with a new solution using a flow map shader, however.