Avatar appears in an aspect ratio of approximately 1.78:1 on this 4K UHD Disc. I thought this was a terrific Dolby Vision presentation.
Much of the movie featured computer animation, so the experience often was no different than watching something from Pixar. This meant that the full CG scenes were just as impressive as the best animated transfers.
In these scenes, sharpness was immaculate. Fine detail could be astonishing, as even the widest shots maintained excellent definition.
The live-action scenes weren’t quite as awesome, but they still looked pretty great. Actually, I suspect that a full live-action movie with the same quality would’ve floored me, but because the CG shots were so amazing, the live-action bits could come across as a little soft. They weren’t, but they just weren’t as stunning.
Still, all parts of the movie – live-action or CG – presented positive delineation. No issues with jagged edges or moiré effects appeared, and edge haloes remained absent. I also failed to discern any source defects in this totally clean image.
In terms of palette, the movie favored a blue-green tint that worked for the nature theme. Other hues cropped up as well, though, and these appeared full and lively. HDR added range and impact to the tones.
Blacks appeared deep and dense, while shadows showed nice delineation. Whites and contrast got a nice boost from HDR. Across the board, this was a great visual presentation.
One note about the aspect ratio: Avatar doesn’t offer the film’s theatrical dimensions. It ran at 2.35:1 on the big screen, while the disc opens that up to 1.78:1. According to Cameron, the movie was composed at that ratio and cropped to 2.35:1 theatrically, so this version theoretically better represents the director’s vision.
I’m not particularly sure why Cameron didn’t use 1.78:1 theatrically if that’s what he wanted in the first place, but hey, he’s the king of the world and I’m just some shmoe with a website. Whatever the case may be, I wanted to mention the aspect ratio and let you know of the change.
Downconverted to Dolby TrueHD 7.1, the Dolby Atmos soundtrack of Avatar impressed. This was an immersive mix that used all the channels to good effect, especially in the film’s second half.
The first 80 minutes or so tended toward more character/story information, so those segments lacked a ton of big set pieces. Nonetheless, some good action moments occurred – especially when Jake and the others encountered various Pandora wildlife – and the film maintained a fine sense of environment. The mix really engulfed us in the alien setting in a natural, smooth way.
If you want to show off your HT, though, you’ll have to head to the second half of the movie, for that’s where most of the action resides. The entire final reel offered essentially demo material, as it boasted almost non-stop mayhem.
With gunfire, flying vehicles/creatures, explosions and attacks, these segments kicked the track into high gear and created a vivid, impressive soundscape.
Audio quality always excelled. Speech was natural and concise, with no edginess or other concerns. Though the score occasionally threatened to get buried beneath the din, the music nonetheless remained clear and full.
Effects offered the best aspects of the track, as they were consistently expansive and dynamic. Across the board, this was a terrific mix.
How did the 4K UHD compare to the Blu-ray version? The 4K’s Atmos audio proved a bit more immersive, though the 5.1 already worked so well that I didn’t find much room for improvement.
Though finished at 2K back in 2009, James Cameron went back and remastered Avatar in 4K for its 2022 theatrical reissue, and that rendition wound up on this disc. As such, the Dolby Vision image offered delineation, colors and blacks superior to those of the already-excellent Blu-ray and became an obvious upgrade.
A recommendation complication occurs due to the existence of Avatar in a 3D Blu-ray version . For viewers with the ability to watch both 3D and 4K, which would I recommend?
I’d opt for the 3D. Yes, it comes with weaker picture quality and lacks the 4K’s Atmos, but Cameron designed Avatar to be seen 3D.
As such, Cameron utilized the format in a manner that means it rises to another level when viewed that way. The 4K looks so good that I feel tempted to pick it above the 3D, but given the excellent quality of the 3D’s stereo image, it remains my preferred Avatar.
Note that Disney released two 4K versions of Avatar in 2023. The studio dubbed the June 2023 package as the film’s “Ultimate Collector’s Edition”, whereas the December 2023 set earned the sobriquet “Collector’s Edition”.
In a confusing twist, the December CE includes more extras than the June UCE. This makes no sense but I guess Disney hoped no one would notice the backwards title choices – or they rejected the use of “Ultra Ultimate Collector’s Edition” for the December set.
I never saw the UCE so I can’t compare it to the CE. I suspect the two offer very similar visuals, though the CE comes with Dolby Vision encoding, and that acts as a bonus for those with the proper equipment.
Most of the sets extra’s appear on two bonus discs, whereas the first platter contains various versions of the movie. We get the theatrical cut (2:42:02), the Special Edition (2:50:53) that ran theatrically in August 2010, and a Collector’s Edition cut (2:58:09) that shows up for the first time on home video.
Note that the SE and CE versions lack the Atmos audio found with the theatrical cut. Instead, they come with DTS-HD MA 5.1 soundtracks.
To help viewers examine the alterations, the disc offers Direct Access to New/Additional Scenes. We get 14 for the SE (16:48) and 17 for the CE (32:48).
Each segment includes footage from the theatrical cut to help us see where it fit into the story. That’s why these collections go longer than you’d expect based on the SE and CE running times.
Most of the additions apply to both SE and CE cuts. I’ll mark the CE exclusives with red print while the lone SE-only piece comes with green writing.
“Earth” (10:16): We meet Jake on Earth, see him get into a bar fight, and learn of his brother’s death.
“Herd” (0:44): Jake sees Sturmbeest for the first time.
“The Schoolhouse” (1:52): Grace shows Jake her old schoolhouse, and he sees hints of tragedy.
“Purple Moss” (0:27): Jake romps through some light-up moss.
“I Don’t Even Know Your Name” (1:18): Jake meets the tribe and asks Neytiri her name.
“Sylwanin” (0:50): Jake learns of Neytiri’s dead sister.
“What Does Hold Them Up?” (0:49): Jake explains what holds up the floating mountains.
”Extended Montage” (1:29): Jake and Grace integrate with the Na’vi.
“Alternate Montage with Grace’s Story” (5:40): The same as “Extended Montage” along with Grace’s discussion of what happened at the schoolhouse – and what killed Neytiri’s sister.
“Neytiri’s Flyby” (0:37): Neytiri zooms around Jake and the others.
“Sturmbeest Hunt” (1:56): Jake and the natives hunt Sturmbeest.
“Extended Love Scene” (1:36): Jake and Neytiri go tail-to-tail.
“Drums of War” (1:26): The Na’vi attack a human compound.
“They Bulldozed a Sacred Site” (0:446): Grace and Jake discuss the nature of the human assault.
“Tsu’tey’s Fall” (0:47): We get a little more of the warrior’s fight.
“Sturmbeest Attack” (0:49): The Sturmbeest trample human warriors.
“Extended Thanator Fight” (0:20): We see a bit more of Neytiri/Thanator vs. Colonel Quaritch.
“The Last Shadow” (2:42): We watch an extended death scene.
First things first: the “Extended Love Scene” provides nothing salacious. If you expected the movie to become “NC-17” rated, you’ll feel disappointed; Jake and Neytiri connect in a pretty tame manner.
Only two genuinely significant additions appear here. “Earth” provides the most intriguing piece, if just because we get to see what the planet is supposed to look like 150 years from now.
Apparently people still wear Harley Davidson T-shirts and watch TVs that look just like modern widescreen sets, though they have hundreds of thousands of channels. “Earth” is certainly interesting as a curiosity, but it doesn’t add anything.
Instead, it slows the movie in its early stages, as we really want to get to Pandora. We learn enough of Jake’s backstory along the way to make this sequence unnecessary.
“Schoolhouse”, “Sylwanin” and “Story” have more value, mainly because they do a lot to flesh out Grace’s character. We get a much better understanding for her past and experiences with those scenes in the film. I understand why Cameron omitted them, as they’re not crucial to the overall plot, but they’re useful.
Otherwise, the additions tend to be interesting but superfluous. As you can tell by the running times, most tend to be minor additions, so they don’t contribute much to the flick. I’m sure fans will be happy to see them, but they aren’t particularly memorable.
Note that the aforementioned ill-titled UCE from June 2023 features only the movie’s 162-minute theatrical cut and fails to provide this December 2023 CE’s two alternate versions. As noted, the CE also offers Dolby Vision encoding not found on the UCE.
Disc Two provides a Blu-ray Copy of the film. It comes with the three versions found on the 4K as well as the ability to see the SE and CE changes on their own.
Disc Three opens with a new feature: a Behind the Scenes Presentation. Hosted by producer Jon Landau, it goes for 18 minutes, eight seconds and we also get remarks from writer/director James Cameron, casting director Margery Simpkin, animation supervisor Richard Baneham, senior visual effects supervisor Joe Letteri, visual effects supervisor Stephen Rosenbaum, virtual cinematography system consultants Robert Legato and Glenn Derry, Weta visual effects supervisor Eric Saindon, animation supervisor Andy Jones, and actors Sigourney Weaver, Sam Worthington, CCH Pounder, Joel David Moore, Laz Alonso, Zoë Saldaña and Michelle Rodriguez.
“Presentation” looks at the film’s origins and development along with pre-production, research, casting, rehearsals, performance capture and other technological elements.The show’s brevity means we don’t get a ton of detail about the shoot, but this acts as a good entry point.
Also new to this 2023 set, we find a collection of four Colonel Miles Quaritch RDA Promos. Introduced by Landau, this set spans seven minutes, 16 seconds.
Shot as promo clips but never used, these feature Stephen Lang as Quaritch as he covers aspects of the Pandora experience from the military POV. They’re fun to see.
A Message from Pandora goes for 20 minutes, 16 seconds, and offers remarks from Cameron as he discusses environmental issues and his trip to the Amazon. Actors Sigourney Weaver and Joel David Moore also pop up, as do some experts, but this is really Cameron’s baby. While the piece clearly addresses important topics, this comes across as a self-congratulatory public service announcement.
Next we find a collection of 28 Deleted Scenes. Touted as “never before seen”, these actually appeared on the prior Blu-ray – someone should’ve retitled them, as fans may believe they’re new to the 2023 set.
These aren’t the same cut pieces seen in the SE and CE versions of the film as they’re unique and often unfinished and come in various stages of completion. A three-minute, 12-second “Viewer’s Guide” offers a little tutorial to understand the different levels of completion involved.
All together, the deleted scenes run a total of one hour, seven minutes, 51 seconds. As one might expect from cut sequences, supporting characters get a lot of the extra development. Norm and Trudy benefit the most, and Selfridge also manages to come across as more rounded.
Not that it’s all about the secondary roles. Jake bonds with Tsu’tey at a celebration and also goes through a vision quest to prove himself. We see more fallout from the Jake/Neytiri relationship and other issues.
While fans will clearly enjoy these, it’d be hard to pin down any that should’ve made the final cut. After all, the CE version goes for almost three hours, so additional material would’ve threatened the pacing even more. Still, it’s nice to see extra character information; nothing stellar appears, but a lot of interesting moments appear.
We also get 17 Scene Deconstruction segments. These allow us to view those sequences in any of three ways: the motion capture stage, the CG template, and the final footage with picture-in-picture reference.
Viewed as a whole via “Play All”, these fill a total of one hour, six minutes, 10 seconds. “Final with Picture-in-Picture” probably becomes the most satisfying angle, but all are interesting, and this becomes an interesting examination of the various components that went into the film’s creation.
We finish up Disc Three with materials under the Avatar Archives. This areas includes two trailers - one teaser, one theatrical – plus Avatar: The Original Scriptment.
It uses still frames to show Cameron’s December 1995 text. The “scriptment” acts as more than a standard story treatment because it includes a partially-fleshed out screenplay as well. That makes it better developed than the average treatment and fun to see, especially as we can easily contrast the similarities and changes between this early incarnation of the tale.
Similar material appears via Avatar: Screenplay Written By James Cameron. Dated July 30, 2007, this obviously more closely reflects the final film than the scriptment, but we still find differences – especially if you’ve not watched the extended cuts of the movie. I’m happy to find it included here.
For more info about the film’s fictitious world, we head to Pandorapedia. This covers 449 screens with data about Pandora, its inhabitants, and its invaders; it breaks into “The Na’vi and Hometree”, “Na’vi Music”, “Na’vi War and Hunting”, “Pandoran Fauna”, “Pandoran Flora”, “The RDA”, “Vehicles”, “Human Weapons”, “Na’vi-English Dictionary”, and “English-Na’vi Dictionary”.
With all those screens at our disposal, the “Pandorapedia” is almost absurdly detailed. Happily, an index lets you just to any of the sections I listed above, so access works well.
I’m not enough of an Avatar fan to want to spend a lot of time in the “Pandorapedia”, but I nonetheless think it’s a pretty cool addition to the set. Avatar Songs offers even more text, as we find the lyrics – in Na’vi and English – to four tunes.
Finally, The Art of Avatar delivers a slew of additional still frame material. It splits into 15 sections: “The World of Pandora”, “The Creatures”, “Pandora Flora”, “Pandora Bioluminescence”, “The Na’vi”, “The Avatars”, “Maquettes”, “Na’vi Weapons”, “Na’vi Props”, “Na’vi Musical Instruments”, “RDA Designs”, “Flying Vehicles”, “Amp Suit”, “Human Weapons” and “Land Vehicles”.
Normally I’d list how many images appear per domain, but I had to admit defeat here. The overwhelming number of stills – and my Blu-ray player’s sluggish frame advance rate – left me without the appetite to add up all of them.
Suffice it to say that you’ll get a wealth of great elements in this area. Cameron’s obsession with detail means all the concept art you could ever want to see.
With that we head to Disc Four, where we get a four-part documentary entitled Capturing Avatar. In this one-hour, 38-minute, 25-second program, we hear from Cameron, Landau, Legato, Derry, Simpkin, Baneham, Saindon, Saldaña, Worthington, Weaver, Moore, Pounder, Rodriguez, Lang, Alonso, supervising virtual art director Yuri Bartoli, lead creature designer Neville Page, key character designer Christopher Swift, lead character sculptor Jordu Schell, Stan Winston Studio’s Stan Winston, Stan Winston Studios character designer supervisor John Rosengrant, AD Josh McLaglen, Giant Studios performance capture supervisor Matthew Madden, production designers Robert Stromberg and Rick Carter, concern illustrator Ryan Church, concept art director Dylan Cole, botany consultant Dr. Jodie S. Holt, senior visual effects supervisor Joe Letteri, costume and specialty props conceptual designer Richard Taylor, costume designers Mayes C. Rubeo, John Harding and Deborah L. Scott, Na’vi language creator Paul Frommer, key character designer Joseph C. Pepe, Na’vi movement coach Terry Notary, Na’vi dance choreographer Lula Washington, stunt coordinator Garrett Warren, dialect coach Carla Meyer, virtual environment supervisor Rob Powers, editors Stephen Rivkin and John Refoua, concept art director Ben Procter, concept illustrator James Clyne, vehicle designer Tyruben Ellingson, lead supervising art director Kim Sinclair, construction supervisor Neil Kirkland, stunt coordinator Allan Poppleton, LA unit director of photography Vince Pace, director of photography Mauro Fiore, special effects coordinator Steve Ingram, digital effects supervisor Nolan Murtha, animation supervisor Andrew R. Jones, Weta visual effects supervisor Guy Williams, facial team lead Jeff Unay, VFX supervisor Erik Winquist, composer James Horner, Lightstorm VP Production Services and Technology Geoff Burdick, and actors Wes Studi, CCH Pounder, Matt Gerald, Giovanni Ribisi, and Dileep Rao.
Across “Capturing”, we learn about the film’s origins/inspirations and development, character/creature/visual design, shooting performance capture and virtual sets, creating an alien planet/environment, and costumes.
We get into cast, training and performances, the Na’vi language and dialogue, stunts, prop and set construction, and cinematography. Finally, the show investigates the use of 3D, shooting the film, animation, editing, post-production effects, preview screenings, score, wrapping up the flick and its release.
Expect a very nice nuts and bolts examination of Avatar here. We find a wide variety of subjects covered here, and “Capturing” does so in a satisfying manner, though it lacks many a discouraging word. Cameron’s known for difficult shoots, and I have to imagine tension occurred during this flick’s creation, but we don’t hear about that.
Given that the vast majority of DVD/Blu-ray extras tend to stay on the happy side of the street, is it fair to criticize “Capturing” for the same pattern? Perhaps not, but the history of programs attached to other Cameron films sets up an expectation for bluntness.
We don’t get that tone here. Nonetheless, that’s a small nitpick, as the level of information provided in “Capturing” makes it worthwhile and informative.
Disc Four includes a slew of Production Materials. When viewed together via “Play All”, these occupy a total of one hour, 24 minutes, 25 seconds. These provide a mix of components:
“2006 Art Reel” (17:19): A combination of concept paintings and narration, this reel shows the story of the film.
“Brother Termite Test” (1:57): A piece to demonstrate the viability of performance capture acting.
“ILM Prototype” (1:28): Another test reel to show the execution of performance capture; this time we see actual representatives of Jake and Neytiri.
“Screen Tests” (10:31): We get tryouts for Sam Worthington and Zoë Saldaña.
“Zoe’s Life Cast” (2:22): Saldaña gets gooped up for a reproduction of herself meant for effects purposes (ie, “secret” blow-up dolls).
“James Cameron Speech: Beginning of Live Action Filming” (5:25): The director rallies the troops at the start of the shoot.
“ILM VFX Progression” (2:37): This depicts various visual effects at various stages of completion.
“Framestore VFX Progression” (3:17): Same as “ILM”, Framestore worked mostly on breathing masks, set extensions, and vehicles.
[Hy-Drau’lx] VFX Progression” (2:04): This one looks at more environments, masks, reflections,
“Hybride VFX Progression” (1:53): Still more sets, virtual props, and displays.
“Prime Focus VFX Progression” (2:56): Additional displays, graphics, props, composite shots, vehicles and environments.
“Look Effects, Inc. VFX Progression” (0:52): Various digital fixes and displays.
“Crew Film: The Volume” (31:41): In this short film, we follow the nutty exploits of motion capture actor Kevin Dorman. Expect plenty of cameos from bigger name members of the cast as well. It’s an odd piece and moderately amusing, though at more than half an hour, it tends to wear out its welcome.
In the next area, we get 17 Featurettes. These include “Sculpting Avatar” (3:46), “Creating the Banshee” (9:52), “Creating the Thanator” (3:21), “The Amp Suit” (4:31), “Flying Vehicles” (5:14), “Na’vi Costumes” (4:14), “Speaking Na’vi” (6:37), “Pandora Flora” (5:41), “Stunts” (5:14), “Performance Capture” (6:33), “Virtual Camera” (3:21), “The 3D Fusion Camera” (3:44), “The Simul-Cam” (2:19), “Editing Avatar” (7:00), “Scoring Avatar” (6:07), “Sound Design” (8:51) and “The HaKa: The Spirit of New Zealand” (5:18).
Across these, we hear from Jordu Schell, James Cameron, Neville Page, John Rosengrant, Yuri Bartoli, Jon Landau, Tyruben Ellingson, Deborah L. Scott, John Harding, Mayes C. Rubeo, Paul Frommer, Carla Meyer, Sigourney Weaver, Sam Worthington, Zoë Saldaña, Dr. Jodie S. Holt, Garrett Warren, Allan Poppleton, Richard Baneham, Joe Letteri, Glenn Derry, Joel David Moore, CCH Pounder, Laz Alonso, Rob Powers, Rob Legato, Michelle Rodriguez, Mauro Fiore, Vince Pace, Stephen Rivkin, John Refoua, James Horner, supervising sound editor and sound designer Christopher Boyes, Weta visual effects supervisor Stephen Rosenbaum, and virtual production art director Andrew L. Jones.
The programs look at maquettes, designing/executing various alien creatures/concepts and military elements, stunts, camerawork and performance capture, editing, music, audio, and a ceremony from the New Zealand stunt crew.
Given all the material covered in the documentary, you’ll inevitably find some redundancy here, but not a ton. The featurettes go over a lot of the same territory but add depth to the info from the documentary, so it delivers plenty of goof material.
Two new-to-the-4K-CE programs finish Disc Four. Hosted by Landau, Memories from Avatar spans 21 minutes, 20 seconds and provides a circa 2022 or 2023 panel with Worthington, Weaver, Saldaña and Lang.
As implied, they reflect on their experiences during the first film’s creation. Nothing revelatory emerges but this becomes an enjoyable reunion with some decent insights, and I like the chance to see the four leads interact.
A Look Back fills 10 minutes, three seconds. It features Cameron, Weaver, Saldaña, Worthington, Landau, Lang, Baneham, Saindon, Pounder, Moore, Ribisi, Alonso, Studi and Taylor.
“Look” gives us circa 2022-23 thoughts about cast, technology and the movie’s success. Nothing especially fresh pops up in this redundant and self-congratulatory reel.
After 12 years away from feature films, James Cameron returned with a bang. Avatar dominated the box office for weeks and became the biggest hit since… Titanic, Cameron’s prior flick. I wish I could say that Avatar was as satisfying as Cameron’s prior blockbuster, but it’s just not in the same emotional league. Both have similar plusses and minuses, but Avatar simply lacks the same heart and power. It’s an enjoyable flick with excellent visuals but not one that packs a punch.
This Collector’s Edition 4K UHD brings Avatar home in a highly satisfying manner. The 4K UHD boasts superb picture and audio as well as a stunning roster of supplements. With three versions of the film and loads of additional materials, this turns into an excellent release, even if I prefer to watch the movie 3D.
To rate this film visit the original review of AVATAR
