Jurassic World: Fallen Kingdom instal the new version for windows

“From there, we used a mix of blend shapes and hand animation to make the ailing raptor feel like it was a biological creature of flesh and blood. “The physical maquette defined exactly where Chris’s hand would go, which gave us great lighting reference and provided a starting point to build out the CG head replacement and physically entrench it into the scene. “On set, the moment was filmed using a practical stand-in velociraptor head, which Pratt could physically touch,” he continues. “It felt like returning to an old friend!

“We were excited to return to Blue and to further define her character,” begins Dave Morley, VFX supervisor on the project. Grady carefully caresses his companion – an action necessitating complex interaction between CG asset and plate photography. One sequence sees an injured Blue reunited with Grady, who carefully approaches the anxious dinosaur in an attempt to regain her trust. The studio’s artists and animators needed to create a creature capable of savage violence, but also capable of expressing an emotional bond with Grady – and all within a short six-week timeframe. Blue – the favourite of trainer Owen Grady (Chris Pratt) – is back in Fallen Kingdom and as fierce as ever, but this time also driven by a more emotive performance. Image Engine’s crowning achievement in 2015’s Jurassic World was bringing life to the film’s pack of four ferocious velociraptors. Read on to learn how the studio approached this even larger and more ambitious take on Jurassic World’s perennially doomed theme park.

Image Engine stepped beyond the park gates once again, acting as VFX velociraptor-wrangler for Blue, building out key establishing shots, and delivering on a high-octane action sequence sure to keep audiences on their edge of their seats.

Jurassic World: Fallen Kingdom instal the new version for windows