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  • See? Not so bad.

  • Look closely at these shots from "Jurassic World: Dominion."

  • Notice how the Giganotosaurus' tongue bounces when it opens its mouth,

  • or how its skin reacts when it roars.

  • Those reactions all happened in-camera from this animatronic Giga puppet,

  • built to look and move like a real dinosaur.

  • The real Giga was 20 feet tall and nearly 50 feet wide.

  • But as for the puppet, the rest of its body isn't there.

  • Building out the whole dinosaur would've made it impossible to move,

  • so the practical and digital teams had to collaborate to make this into this.

  • The production team had just three months to construct the entire head.

  • The head is the biggest dinosaur that's ever been seen in any of the "Jurassic"s.

  • So the creature effects team started with a digital model based on sketches and sculpts from the film's production designer.

  • They then printed just the Giga's head and cut it out of polystyrene.

  • Even though we only made the head from the tip of the nose to just about the shoulders,

  • we needed to understand exactly what that entire creature looked like before we started making the animatronic.

  • This helped them match the CGI and physical versions from the start and avoid drastic design changes in postproduction.

  • John used that head as the basis for a more camera-ready puppet.

  • First, it was covered in oil-based clay to prevent drying out and cracking.

  • We skimmed the whole thing, almost like icing a cake.

  • It took a team of 20 sculptors to give the Giga its rough skin texture,

  • with references ranging from historical evidence to crocodiles.

  • The head was then covered in a fiberglass mold to hold it all together while John injected it with foam latex.

  • To set the skin, the foam needed to be baked into the mold,

  • but the head was so large that it wouldn't even fit in John's oven.

  • So instead of doing this step in one piece,

  • they split it up into seven smaller sections,

  • baking them in pieces in two ovens.

  • The finished foam pieces were then glued together.

  • There was still a risk of the foam pieces splitting apart during filming, so each piece was also backed with netting for further protection.

  • The final layer of foam latex was crucial for flexible movements and made a good, realistic-looking stand-in for the Giga's rough and opaque exterior.

  • But the Giga also needed physical features that reacted to light realistically while being filmed,

  • and foam latex lacked the translucency needed for moments like this, where the Giga opens its mouth wide.

  • When the tongue lifts up, you want a bit of light to pass through the tip.

  • So instead of foam latex, the tongue and the back of its throat were made entirely out of silicone.

  • When it came to its outer skin and scales, a little light still needed to pass through its skin,

  • but layering too much silicone would've weighed the puppet down.

  • So those details were snuck in while painting its skin ivory green.

  • All of the translucency and the details have to be sort of cheated with an airbrush on top of the skin.

  • Look at the Giga under two types of lighting, and you can see changes in its skin color.

  • But making this puppet look real was one thing.

  • They also had to make it move realistically.

  • John and David decided to match the mechanical skeleton inside the head with what a real Giganotosaurus would look like based on expertise from paleontologists.

  • We were kind of making a metal skeleton for the interior of the dinosaur to try and get as much believability and reality into the way it moved as possible.

  • They then used motors known as servos to power the head.

  • By placing rotational servos in the anatomically correct areas, the head could twist, pivot, and roll.

  • Those pivot points sat exactly along the lines of where the vertebrae in the dinosaur were as well.

  • The animatronic's facial movements were particularly crucial when interacting with the cast.

  • The team had to link these servos to move several parts at the same time.

  • When the Giga closes its eye after Bryce Dallas Howard stuns it,

  • the servos powering this eyeball and eyelid were preprogrammed as one movement.

  • With this control system, we could literally press one button, because we knew how it needed to react.

  • We really wanted to have that area as organic as possible.

  • Then we also had eye sockets that moved left and right,

  • so the whole eye socket, with the lids as well,

  • could move left and right, and then every time it blinked,

  • the eyes would actually pull in.

  • You actually find some reptiles and birds do that.

  • You could also see all those movements happening here, as the Giga roars at Chris Pratt.

  • The eye could pull back and blink, and then the nictitating membrane come across as well to protect the eye.

  • Servos weren't enough on their own for the heavier parts of the head, like the tongue and throat.

  • Since those were made out of silicone, they weighed extra.

  • The tongue is probably the size of a surfboard.

  • So those servos were mixed with hydraulics to push the extra skin around.

  • And for more dangerous interactions,

  • like when the Giga uses its mouth to drag Bryce Dallas Howard, the movements were controlled live on set by a team of 15 puppeteers.

  • The team also built in safety measures.

  • The hydraulics used to move the Giga's jaws prevented its mouth from fully closing in case somebody got too close,

  • and preset controls helped keep the actors safe.

  • If anything went over a certain marker, then the puppet would just literally shut down.

  • These precautions were just as important for the puppet's safety.

  • Because it was built in pieces, the animatronic was incredibly fragile.

  • That made some action-heavy scenes more suitable for CG,

  • like this shot, where the Giga smashes its head through a giant window.

  • It was just going to break, or it's going to tear the skin.

  • So for that moment, the scene uses both a CG head and window smash.

  • John's finalized Giga head was 3D scanned to create the CG look.

  • But these shots returned to the Giga puppet that was moving through an already-broken window on set.

  • Run!

  • A similar combination of CG and practical effects was required here.

  • The catwalk destruction is real, but the dino is not.

  • But the practical head returns in this shot.

  • These seamless transitions between CG and practical meant that overall movements of the dino had to match the digital model perfectly,

  • especially because there was only a practical head.

  • According to David, this was an issue they dealt with in 2018's "Jurassic World: Fallen Kingdom."

  • The way the animatronic was moving was not conducive to us adding the rest of the body.

  • They didn't fit.

  • So the special effects team built this customized rig and placed the 2-ton head on it.

  • The mechanical rig was also placed digitally inside the Giga's CG body.

  • You can clearly see where the practical build ended and the animated body began.

  • Wherever the dinosaur moved, it would move the mechanical rig.

  • So we knew that the mechanical rig had exactly the right range of motion to put the dinosaur in the right place.

  • Thanks to all the hard work to make the practical and CG work hand in hand,

  • they could cut from a shot of the animatronic to a fully CG version back-to-back,

  • and that switch could be completely invisible.

  • We wanted to use it on set to create a real tension and emotion and a connection between our actors and our director and cinematographer.

  • You commit to a language.

  • Our puppeteers on set become the actors,

  • and the dinosaur is portrayed through them.

  • It gives us a language for our animators to work with and work into.

See? Not so bad.

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How A 9-Ton Dinosaur Was Made For "Jurassic World: Dominion" | Movies Insider | Insider

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    たらこ 發佈於 2024 年 02 月 20 日
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