Saya mau tau Kesan visual dari The Last Airbender. Jelaskan dalam bahasa melayu

Dengan filem semaju Avatar, harapan membaling bebola api dan air secara realistik were pushed to the limit on The Last Airbender. The film presented the opportunity to create and work on a variety of things never seen before, and Pablo Helman, who previously worked on Star Wars Episode II: Attack of the Clones, was the visual effects supervisor for the Industrial Light and Magic team on the film. He worked closely with Shyamalan, reviewing each scene and talking about the visual effects needed to tell the story, and ultimately worked with about 300 people to reflect the director's vision, who he said planned it all in a story-board book.

Industrial Light and Magic was posed with visualizing the elemental tribes of Angin, Air, Tanah, dan Api; most importantly creating the "bending" styles of these elements. Tambahan pula, they were required to animate inanimate creatures and enhance stunt work with digital doubles. "Kerja ini agak mencabar," shares Helman. "Kami terpaksa figure out what "bending" is for api, air, angin dan tanah." Projek dimulakan tanpa teknologi yang diperlukan needed to create the effects. Rather than software, computer graphic cards were the basis for "bending" the elements, membolehkan pratonton dibuat dalam masa yang singkat. Hasilnya, Shyamalan terpaksa mengarah lebih daripada enam puluh sixty takes sebelum kesan disiapkan dan lined up with his visions.

Due to reality-based expectations, api dan air merupakan unsur yang paling susah untuk to effectively bend, and because of particle work which was unable to be rendered in hardware, earth bending also was difficult to create. With water, the variety in different scales required Helman and his team to create different techniques. The concept for air was derived from the animation of the television series. In order to create the air bending effect, pengarah seni kesan visual Christian Alzman dan digital matte department supervisor Barry Williams explained that seeing dust and snow particles, rather than seeing the air itself, helped shape the real world effect of bending the element. Before the bending effects could be applied though, gerakan pelakon perlu disepadankan; Shyamalan therefore inginkan gaya bending setiap watak unik untuk in order to fit with their unique personalities.

The challenge for fire didn't come with making it look realistic, but rather making the fire behave in an unrealistic way that would be dipercayai para penonton. The film that inspired The Last Airbenders fire style was filem Harry Potter keenam, yang telah direkasemula in order to reflect two-dimensional simulations. Helman's team referenced images of flames being pushed through the air by giant fans for certain shots needed throughout the film. The team also considered using a meshed image of real and digital fire, but in the end, went with the richer, deeper texture of computer generated flame.

In terms of matte paintings, this was the biggest show that Helman had ever done. The paintings had to be in 3D because the visual style included long duration shots in which the camera always moved. The climax, which was enacted on a  set, had to be incorporated with still of the landscapes shot in Greenland, as well as the low-angle lighting that was captured on location there. The camera was animated to get angles needed for different shots in the film by importing these stills into the computer. Multiple cameras were used to capture the different wire-work and animation that was used to create the creatures and many fight scenes within the film. In creating these creatures, the team referenced nature. In order for them to be believable, they looked for examples of the same size and weight as the animated character and then developed hybrids from different animals to make each species unique. This was done by observing actual animals to get a take on how they would act. Shyamalan's take on the personality of each creature also influenced the creation stage of the creatures. Contohnya, the lemur Momo has flying mechanics berdasarkan giant fruit bat. Unsur lain, seperti penteksturan, simulasi rambut atau skala, dan pencahayaan dan bayang-bayang yang serentak dengan aksi langsung, dimasukkan untuk menjadikan animasi akhir kelihatan final animation appear as real as possible during the later stages perkembangan watak.

Paramount Pictures membuat pengumuman lewat April 2010, bahawa The Last Airbender akan dikeluarkan dalam format 3-D. Keputusan ini dibuat setelah beberapa filem yang dibuat atau ditukar ke 3D, contohnya Avatar, Alice in Wonderland dan Clash of the Titans, mengaut keuntungan yang memuaskan di box office. Meskipun turutan Helman bahawa cara Shyamalan merakam tanpa suntingan cepat dan proses visual filem could lend itself to the 3D conversion well, James Cameron melaungkan bantahannya terhadap apa jua filem yang ditukar menggunakan proses itu, menurutnya, "Anda boleh menampal label 3-D dan memanggilnya 3-D, tetapi tiada apa jua cara itu boleh dibuat mengikut piawaian yang boleh dianggap cukup tinggi oleh orang lain." ("You can slap a 3-D label on it and call it 3-D, but there's no possible way that it can be done up to a standard that anybody would consider high enough.")  Despite this, Shyamalan opted to work with Stereo D LLC, the company who worked on James Cameron's own Avatar. Proses penukaran filem memakan belanja antara $5 juta dan $10 juta, adding to the reported $100 juta yang telah dibelanjakan filem.