“When we were shooting at a lumber yard and had to put two huge Apatosaurus in the background, the whole sequence was shot in the morning in bright sunlight and no snow,” Vickery says. The crab pod is something that we added in as well as the Mosasaurus and a bunch of spray.” Shifting weather patterns had to be accommodated. “The goal was to use the natural aesthetic of the footage that we had and integrate the CGI elements into it. “Our editors scoured through 16 seasons of The Deadliest Catch program, correlated and created an edit from outtakes,” Vickery reveals. The bike was rigged so it could weave left and right.”Ī different approach was adopted for Mosasaurus attacking the crab boat. Once we got back in the U.K., Chris rode a stationary motorbike that was placed on a massive rolling road that was 25 feet wide. “We had array photography and LiDAR data from location, which was then projected and manipulated rather than being a fully CG environment. We were deploying all sorts of new techniques such as wearing Bolero headsets rather than the usual walkie system.” Travel restrictions caused a few key scenes to be reimagined, such as Velociraptors chasing a motorcycle driven by Owen Grady (Chris Pratt) through the streets of Malta. We had tech scouts where the DP, John Schwartzman, was still isolating before he was able to come back onto set. “It was hard to understand how we were going to be able to communicate with each other, because suddenly we had to stay distant, were all wearing masks and couldn’t all cluster around the director’s monitors. “Nobody knew what was going to happen when COVID-19 hit and we had to start shooting again during the pandemic,” Vickery states. ![]() “Because of our previous working relationship, Kevin trusted me to take incomplete designs to ILM and to continue their evolution.”įive weeks into principal photography for Jurassic World: Dominion, the pandemic caused a global lockdown. “Kevin clearly understands visual effects and worked a lot in 3D, so he could hand those designs over to us,” Vickery observes. ![]() ” Collaborating with Production Designer Kevin Jenkins was easy as he is a former art director at ILM. I worked closely with the previs and postvis teams. “ Colin Trevorrow had a one-on-one relationship with the storyboard artist, and those storyboards were handed over to us to create animatics. ![]() “There are always new challenges.” About 1,450 visual effects shots were created, with ILM being responsible for 1,000 shots while the rest were handled by Lola VFX and Hybride. “I’m still working on dinosaurs! Not the film ones, but for promotional media, advertisements and public relations related stuff.” Any concerns of repeating himself were alleviated by working with a different director, crew and script. Prehistoric beasts have had a constant presence in the life of David Vickery, who served as Visual Effects Supervisor on Jurassic World: Fallen Kingdom and Jurassic World: Dominion.
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