"Jurassic World: Fallen Kingdom combines cutting-edge CG with old-school animatronics"
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Jurassic World: Fallen Kingdom combines cutting-edge CG with old-school animatronics
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Reading through the script together we could see that there were
Incredible moments of intimacy and unprecedented load of contact between humans and dinosaurs in the film.
And that challenge there for us was trying to create a diverse suite of tools.
We used every trick in the book, really, to allow our actors and our camera man our director to Interact with these digital, of the digital creations.
We can include blue in that acting group.
So it's, dream it's not a special effect and that the actors and that just don't feel but they're coming in to a special effect or visual effect.The feeling is they just coming in and they're lying on this table is real living entity And I think it just allows him to engage completely in the scene, And allow JA to direct the scene in it's entirety.
Just as he would if it was a human lying there.
Scanlan and his creature effects team and the ILM digital teams.
The collaboration was really tight right from the outset.
So in preproduction, the ILM art department worked with Neil.
We created digital versions of dinosaurs, designed dinosaurs within the digital realm.
And handed those files to Neal for fabrication.
In the actual shoot when Neal's team were there with their animatronics.
We're enhancing we're all working off of a common [UNKNOWN] affectively [UNKNOWN] created the digital and practical dinosaur
There's a fair amount of digital enhancement and augmentation into those performances
But you never stop believing that they're real.
Because they are real.
They are there.
They're in front of the actors and they're working with the actors in a very organic way.
There's a whole team of dudes down here.
Hey, what's up.
[UNKNOWN] Was performed as Danny says, with rods.
She's not that technological.
She's actually a very simple rod puppet.
And the secret being that that's each rod is connected to a performer who can bring their own personality and a choreographed performance together.
We can also then not necessarily worry too much about a rod being seeing, or whether the pupil needs to dilate, or whether there's enough tension in the skin, because that obviously David and his team can come in and lay a sort of the icing on the cake.
Having something real on set on the day moving around is perfect reference for doing and being able to draw from that real thing.
And being able to enhance the bits and pieces that maybe is more challenging for Impractical to acheive, really gives you a blend of something that, in the end, is hard to tell whether it was practical or digital.
Often, it meant all we had to do is paint out rocks, and you've got a living breathing dinosaur sat in front of you.
And other times we would replace a claw, or sometimes a tail, or an eye, and actually that Planned on never relying on a physical technique or digital technique.
Kept the audience guessing.
And you could never tell what you're looking at whether rather it was real.
Actually I think you just went with the performance and it worked really beautifully.
There's a huge amount of interaction that needs to happen.
So we might have a shot with
The herd of dinosaurs stampeding across the grass.
And to really enable that, for us, means removing all the grass from the photography that exists already and replacing that digitally.
Because each foot-fall has to have some influence on the ground underneath it, the grass needs to get chewed up, a little bit of mud gets kicked out the back.
And then there's kind of a history of where the dinosaurs have been in this world there needs to be a trail in the track left behind so theres a huge amount of integration not just to put the dinosaur into the plate but to make it feel like this environment is inhabited by these creatures
A huge challenge and it's kind of terrifying when you first start out because you're following in the footsteps of legends of our industry like Dennis [UNKNOWN], and Phil Tippett and Neil Scanlan, [LAUGH].
So you want to bring something that the audience love, a lot of what we're doing is trying to recreate that feeling you got when you first saw a dinosaur in Jurassic Park 25 year Years ago.
I mean I think I was 12 or 13 when the first Jurassic Park came out, so that was sort of mind blowing for me, seeing it like this was real dinosaurs on the screen for the first time.
So that really played a huge part in what I do today, I think.
I think also the Jurassic Park film was the
First ever computer-generated creature in visual effects.
So, I think it also has that influence on our careers.
I probably wouldn't have a career without that film.
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