Hollywood, I became a legend with special effects.

Chapter 16: Cutting the Cake, Fox Stops Voting

A week later, Cameron's special envoy arrived as scheduled, and the size of the delegation far exceeded expectations.

Leading the group was still visual effects supervisor Robert Legato, followed by a full eight people.

The group included the head of biodesign, a botanical consultant, a lighting and materials expert, and two senior technical representatives from Industrial Light & Magic and Weta Digital, all of whom wore undisguised scrutiny and a hint of disdain in their eyes.

The middle-aged man in the Armani suit at the end of the line, Mark Hill, a senior producer sent by 20th Century Fox, was holding a thick budget folder as if it were a hot potato.

This setup is less of a technical inspection and more of a public trial.

Cameron needs to test whether this suddenly emerging challenger truly deserves a share of the pie, or even shakes up the existing order, in front of the two giants and investors.

Frank Taylor, a senior technical director at Industrial Light & Magic, had a faint smile playing on his lips.

The representative from Weta Digital was more direct, crossing his arms and adopting a "let's see what you can come up with" attitude.

Legato cut straight to the point without any pleasantries: "Mr. Jiang, Director Wu. Director Cameron's visual requirements for Pandora are extremely demanding. The test package we brought includes three core challenges. First, the dynamic simulation of the luminous aerial root network of the Tree of Souls; second, the real-time binding of the bioluminescent texture of the Na'vi skin with emotions and movements; third, and currently the most challenging issue, how to achieve the required depth of field and parallax for 3D stereoscopic photography, as well as the correct representation of special ambient light in stereoscopic images within the large-scale, high-detail Pandora jungle scene."

He paused, his gaze sharpening. "The first two points, the ideas you presented last week, have potential. The third involves a completely new 3D filmmaking workflow we're exploring. Traditional 2D-to-3D post-production methods are completely inapplicable here; we need true native 3D support throughout the entire process, from filming and asset creation to final rendering. I heard you've also been researching this area?"

Fox producer Mark interjected at the opportune moment, his voice weary and strained: "Yes, the 3D workflow is one of the key reasons for the budget overrun. The rendering cost, data volume, and production cycle for each frame are increasing exponentially. We need practical, cost-controllable solutions, not more technological risks."

He glanced meaningfully at the representatives from Industrial Light & Magic and Weta Digital, noting that neither company's current solutions had effectively controlled the soaring costs and time required for 3D applications.

Jiang Yu remained calm, looked at Wu Na and Zhou Mu, and nodded.

Wu Na took a deep breath and walked to the control panel. Her voice was steady and clear: "Everyone, please take a look at the first test item, the Tree of Souls."

The screen lit up, and it was no longer a simple algorithm demonstration, but a nearly complete dynamic test.

"We improved the optical path propagation network algorithm and combined it with simplified simulation of flexible body dynamics."

Zhou Mu pulled up the node graph and control parameters behind it. "The rules for energy flow can be customized to simulate biological nerve impulses or energy cycles. Most importantly, the computational load of this system has been optimized, allowing most of the dynamic data to be baked before final rendering, and the frame rate of the real-time preview is already acceptable."

Frank Taylor of Industrial Light & Magic leaned forward slightly, a habit he had when he was deep in thought, while the Weta Digital representative lowered his arms.

"The second one, Na'vi skin." Wu Na switched the screen.

This showcases not just skin texture and glowing patterns, but a complete Na'vi digital character in a simple animated performance.

"We have developed a subcutaneous luminescent volumetric layer system that is deeply integrated with a multilayer scattering skin model."

Zhou Mu quickly explained, "The glowing patterns are generated based on procedural noise and hand-drawn masks, and are driven by a mapping controller that is bound to the animation data. Not only can they change with emotions, but theoretically they can also respond to ambient light intensity, or even specific magical or ritual states."

The biodesign director couldn't resist moving closer to the screen to examine the junction of the skin texture and the luminescent patterns: "The level of integration is so high that the layering is almost invisible. How did you manage to resolve the light interaction and obstruction between the luminescent layer and the skin's scattering layer?"

"We introduced a simplified volume rendering pass to handle the light contribution from the luminous layer and improved the skin shader so that it can sense and be affected by subcutaneous luminescence, such as the skin around the luminous area having a slight translucency and color penetration," Zhou Mu replied quickly.

Although Fox producer Mark didn't understand many technical details, he could see the effect.

It was a visual presentation of an unprecedented sense of life and sacredness, precisely the Pandora-like feeling that Cameron had always pursued but could not articulate.

"Then, the third item, full 3D support." Legato's voice drew everyone's attention back; this was the real tough nut to crack.

This time, Jiang Yu personally stepped to the forefront.

"Regarding 3D," he began, "we believe the problem isn't in post-production conversion, nor is it simply about shooting with two cameras. The core issue is having stereoscopic attributes from the asset creation stage, and a pipeline that can efficiently manage stereoscopic data and preview stereoscopic effects in real time throughout the entire production process."

He gestured to the operator to bring up a completely new software interface.

"This is the prototype of the 3D asset management system and real-time 3D preview engine that we developed simultaneously over the past six months while researching our virtual production process. Simply put, every digital asset we create, whether it's a character, plant, or rock, is not just a model from the beginning of modeling; it comes with metadata such as the depth parallax range required for its 3D vision."

The screen displays the same Na'vi character model in normal view and stereoscopic view, showing the differences between them.

"For complex scenes," Jiang Yu continued, "we have developed a depth map-based stereo optimization algorithm that can preprocess the scene before rendering, automatically mark potential harmful parallax areas and provide adjustment suggestions, or perform adaptive sampling during final rendering to reduce unnecessary rendering burden while ensuring stereoscopic effects. We also have several related patent applications pending."

He showed a test: a jungle scene filled with fluorescent plants and intricate vines.

It was already beautiful in normal rendering. After activating the 3D mode, the sense of layering and depth of the scene suddenly jumped off the screen. The fluorescent light seemed to be suspended in the air, and the vines intertwined, but without creating a dizzying visual conflict.

More importantly, the increase in rendering time was kept below 55%, far lower than the 70%-100% increase that is common in the industry due to 3D demand.

"This is impossible..." Frank from Industrial Light & Magic muttered instinctively, then realized he had lost his composure, shut his mouth, and could not hide the shock in his eyes.

The Vita representative also completely abandoned his dismissive attitude, his expression turning serious.

They are all experts and are well aware of the value of the approach that Jiang Yu described and demonstrated. It is not just about solving a technical problem, but about trying to establish a new, more scientific and efficient standard for 3D film production!

Fox producer Mark's breathing quickened. He asked urgently, "Have you validated this process? How stable is it? If applied to the actual production of *Avatar*, how much extra time and cost do you estimate it will save us due to 3D issues?"

Jiang Yu was prepared: "We internally verified the stability of the core module through several small and medium-sized test projects. If we cooperate, we need to work closely with ILM, Weta, and your production team to integrate this system into the existing workflow. Conservatively speaking, for special effects shots involving complex creatures and environments, our method is expected to shorten the production cycle caused by 3D requirements by 20%, and also significantly improve cost control."

........

A brief silence fell over the conference room, broken only by the hum of the machine fans.

Legato, the biodesign director, the botanist consultant, and others exchanged glances, their surprise mixed with excitement; they saw new hope in solving the problem.

The representatives from ILM and Weta had changed their expressions from solemn to complex, a mixture of shock, lingering fear, and a strong competitive spirit.

They suddenly realized that this Chinese company wasn't there to pick up bargains; it was there with disruptive technology and a clear strategy to reshape the market.

Producer Mark closed the budget folder in his hand, seemingly having made a decision.

He looked at Legato: "Robert, I believe their digital rendering capabilities are fully qualified to be involved in the production of Avatar. At the very least, they can handle the most challenging parts, involving new biological skin, complex procedural environments, and 3D process optimization."

Legato nodded slowly, looking at Jiang Yu: "Mr. Jiang, Director Wu, Mr. Zhou. On behalf of Director Cameron, I formally invite Light & Shadow Digital to join the Avatar project. We hope you can handle about one-third of the special effects production, focusing on the core creature effects such as the Na'vi skin and the Tree of Souls, as well as assisting in optimizing the 3D production process for some complex environments. The initial estimate for this part of the work is around... $5000 million."

5000 million! This number shocked the team members of Light and Shadow Digital.

This is the largest potential order the company has ever received since its inception, almost twice the total of all previous projects!

However, producer Mark's next words poured cold water on this burning excitement.

Mark abruptly changed the subject, his face showing helplessness and anxiety. "Legato, there's a huge problem now. After reviewing the latest budget assessment and progress report, the company headquarters is very hesitant to invest any further. Director Cameron is a genius, but his projects..."

He glanced at Legato, carefully choosing his words, "It's always challenging, and costs are difficult to control. The experience with *Titanic* has left the board wary. Currently, the production budget for *Avatar* has exceeded the initial approved $1 million to $1.5 million, and production is less than halfway complete. The uncertainties brought about by the new 3D workflow have multiplied the risks. The headquarters' current stance is that they hope the director can resolve the major funding gaps himself. In other words, this $5000 million collaboration needs to be borne by director Cameron or a new investor; Fox may only provide partial support and final distribution according to the original agreement."

Legato's face also darkened, clearly aware of the situation and feeling immense pressure.

This is precisely the biggest dilemma Cameron's team is currently facing: a technological breakthrough is just around the corner, but money, the eternal theme of Hollywood, is holding them back.

The atmosphere became delicate again, with the enormous opportunity and the harsh reality creating a sharp contradiction.

Jiang Yu's brain was racing. He remembered the astonishing global box office and even more astonishing profits of "Avatar" in his previous life, and he also remembered that its production cost eventually climbed to about $2.5 million (excluding marketing).

Fox's retreat is a historical fact, and it was ultimately completed only after Cameron mortgaged his own profit-sharing rights and brought in other investments.

Now, history seemed to be repeating itself before him, and a bold idea flashed through his mind like lightning.

He needs time to think things through, and even more so, he needs internal discussions.

After seeing off Cameron's large and preoccupied delegation, the door to the conference room at Light & Shadow Digital closed tightly.

........

Wu Na, Zhou Mu, and Chen Jingming and David Cohen, who were urgently summoned, all looked at Jiang Yu.

"Mr. Jiang, it has one-third the special effects of Avatar!"

David was ecstatic. "If we can pull this off, Light & Shadow Digital will instantly become one of the world's top visual effects companies! That's more effective than making ten Taken movies!"

Zhou Mu, on the other hand, was a tech enthusiast: "Those technical challenges are so exciting! If we can solve them, our toolchain can advance by at least three years!"

Wu Na remained relatively calm, though a glimmer of hope shone in her eyes: "The challenge is immense, but worth a try. The key question is whether our manpower, computing power, and management capabilities can keep up? A scale of $5000 million is our limit."

Chen Jingming adjusted his glasses, his tone cautious like a financier: "The biggest problem isn't whether we take the project, but whether they have the money to pay. $5000 million is no small sum. Fox backed out, so Cameron is going to find investors himself? In Hollywood, for projects with such clear risks, unless there's a huge exchange of benefits or absolute trust in the director, it's very difficult to find such a large amount of cash in a short time. Moreover, even if we take the project, we'll need to invest a lot upfront."

All eyes finally focused on Jiang Yu, who walked to the whiteboard and wrote down a few keywords.

Avatar, 5000 million, funding gap, risks, opportunities.

"First, from a technical standpoint, we are confident that we can take on the task, and we must. It's the ladder to the top."

He seized the opportunity: "Human resources and computing power can be expanded. As for management, Wu Na and David need to start planning immediately, and Chen Jingming will assist with finance and contracts."

"Secondly," he pointed to the funding gap and risks, "Fox's retreat is a crisis, but also an opportunity for us."

He turned around, his gaze sweeping over the crowd: "What if we weren't just a visual effects supplier, but a co-investor and solutions provider?"

The meeting room was completely silent.

"Chen Jingming," Jiang Yu called out, "what is the largest amount of cash that Chasing Light Investment can currently utilize, or funds that can be safely mobilized in the short term?"

Chen Jingming quickly calculated and replied, "After deducting the operating funds that must be retained, the investments already deployed, and the hedging positions, the liquidity currently available is approximately between $1.2 million and $2 million. If we take some asset-backed loans or short-term financing, it can increase to around $4 million. This is our strategic reserve, prepared to cope with..."

He glanced at Jiang Yu but didn't say anything.

Jiang Yu nodded: "I know. Avatar could be an investment with a return that might exceed expectations. I know Cameron, and I understand the prospects of this project."

He paused, then unveiled a groundbreaking plan: "Let's say we propose a new collaboration to director Cameron and Fox: Lightscape Digital will not only undertake the special effects production at a preferential price, but Light Chaser Investment will also invest, say, $2000 to $3000 million, as a priority equity investment in the Avatar project. The conditions include: a fixed priority rate of return; a share of the film's net profits after its success; and, most importantly, ensuring Lightscape Digital's core supplier status and a certain degree of creative influence in the project. We will not only provide technology and funding, but also be deeply tied to the project's success."

David gasped. "Investing in Cameron's movies? And such a high-risk project at that? Jiang, this is a huge gamble!"

Wu Na and Zhou Mu also looked shocked.

He looked at Chen Jingming: "Immediately assemble a lean team to study the feasibility and potential structure of preferred stock investment in film and television projects, especially collaborations with major Hollywood studios and top directors. David, you're responsible for maintaining communication with Legato and Fox, revealing that in addition to technical solutions, we're actively considering how to help advance the project, but don't reveal our hand yet. Wu Na and Zhou Mu, you two prepare the most detailed special effects production plan and budget, demonstrating that we can not only do it, but also do it efficiently and cost-effectively."