You must not think of these operations behind the scenes of "Jurassic World 3".

The big screen of this summer belongs to the dinosaur!

Since its release on June 10, "Jurassic World 3" has awakened the global film market and set off a "dinosaur boom"!

Thirty years ago, "Jurassic Park" won the Oscar Best Visual Effect Award with amazing film technology;

△ The "Jurassic Park" team won the Oscar "Best

As the final chapter of this classic series, "Jurassic World 3" once again showed "light and shadow magic" in theater, let us enjoy a real visual feast!

Over the past 30 years, it has always stood at the forefront of visual effects technology and leading the revolution in film technology. There is a real "movie geeser" behind the "Jurassic".

Recently, the artistic director of "Jurassic World 3" Kevin Jenkins and David Vickery, director of visual effects, started a face -to -face video dialogue with domestic colleges and television teachers and students, answered many questions about the visual effects and production of films. For the first time To fully unveil our secrets of "creating Jurassic World".

"How to make a legendary IP that lasted for 30 years glowing new vitality and brings a new experience to the audience visually?"

This is a question raised by Mr. Huang Shi, an associate professor of Communication University of China, and the "soul torture" faced by all the main creators of the Jurassic World 3 project.

The biggest highlight of this story is "a new world coexisting with dinosaurs".

In order to make this setting true, "Jurassic World 3" broke the entire series of records in the number of scenes -112 scenes! And most of them are "real scenes".

From northwestern Pacific to Texas, from Utah to San Francisco, Malta in Europe, the Baiyun Stone Mountains in Italy ... shooting the team globally, and then incorporating digital special effects in a large number of real scenes.

In the connection video, Kevin and David have been disassembled in detail about several impressive scenes in the film.

The pursuit of Irving and Dinosaurs was shot in a beautiful mountainous area in northern Vancouver, Canada. The heavy snow in the mountains was actually dropped the night before the crew arrived.

When designing this scene, Kevin referred to Western films in the 1960s and 1970s, especially in 1969, the western science fiction film "Dinosaur Valley" with denim and dinosaurs.

Malta scenes full of exotic style, in fact, most of the plots are filmed in London:

The "Underground Dinosaur Black Market" was converted from a large pool in the Photo Studio of the Songlin Studio Film Factory, but the patterns used in the built were from Malta.

After shooting the "Black Market", this venue was shot by the bridge section of the barbaric dragon "jailbreak" after "violent transformation".

The "street parkour" and "motorcycle chase", which makes people's heartbeat accelerated, was completed by two camera groups in London and Malta, respectively.

The stars were shooting and close-ups in the London shed. Chris Prate's "Motorcycle Escape" was taken on a huge special transmission track of a 6x7 meter-size and 30-40 kilometer per hour.

After that, his performance will be "fit" to the action actor of the second camera group through the bone binding technology, and finally synthesize it into the street view of the pre -scanned Malta.

The huge Biosyn headquarters base is composed of several parts: several parts:

The digital special effects of the ring shape, the modern atmosphere of science fiction reveals the sense of science fiction;

All laboratories are designed and constructed based on the real laboratory around the world;

If you pay close attention, you will find that the corridor ceiling is amber yellow -this is to echo the most iconic amber of the "Jurassic" series.

The architecture inside the base and the ladder classroom with Dr. Malcolm delivered a speech at the University of Oxford University of Polish Politburo and Woverson College.

The virgin forests outside the base are all artificial scenes.

In order to cooperate with the close scene of the sickle dragon, the crew picked out 7 of more than 200 trees, and "dressed" like a thousand -year -old history, and also "arranged" ponds and quagmires around the surroundings ...

Teacher Weng Dongdong of the School of Optoelectronics, Beijing Institute of Technology, praised the dinosaurs in the film:

"From the perspective of the entire movie viewing process, the ultimate exhibition effect is satisfactory and new breakthroughs.

Compared with the previous few, there are more types of dinosaurs, richer scenes, and improved.

Whether it is a detailed close -up of the dinosaur or the picture of fighting with the dinosaurs, it shows vivid and true special effects. "

This is due to the combination of the dinosaur physical effects of "Jurassic Park 3" and the computers' digital effects.

Special effect master Stan Winston once created physical mechanical dinosaurs for the 93 version of "Jurassic Park", laying a solid foundation for this legend of film history.

△ "Jurassic Park" (1993)

The director Colin Terevo decided to return to the "Animatronnics" technology that returned to the initial generation, and asked the physical dinosaurs to be seamlessly integrated with the real environment.

The "strongest meat food in the history of land", which interacts with actors a lot, is the Giant Southern Giant Dragon, which requires 15 people to operate its mechanical entity at the same time to shoot.

The newly unveiled Little Rogue Beta is also a physical entity. It was a little stupid and unique dynamics in the brutal, and conquered the audience as soon as it appeared.

The botanist player Eri, played by Laura Dunn, has a contagious rival play with Baby Triangle Dragon. The flexible mechanical entity makes the actor's performance more realistic and credible.

More dinosaurs in the film are achieved through physical entities and digital effects.

Under the guidance of paleontological consultants, the sculptor accurately made the clay model of the dinosaur head and neck, outline the skin texture and inserted hair; after that, the binding of the dinosaur body was extended by a digital manner, and the entire digital special effects were used to make the whole entire entire. Body.

The digital effect must perfectly simulate the fold texture of the latex skin on the physical dinosaur, and the state of various delicate changes; the seams of physical and digital effects need to be carefully debugged until the two are seamlessly matched.

In the film, the two "stars" that impressed Mr. Weng Dongdong and his classmates -the fire theft dragon and the rapid Rogu Bruce were created in this way.

This time, the feather dinosaurs that appeared in the Jurassic series were quite visually impactful.

The artists scan the fire dragon's physical head carving and the body's data into Zbrush, and "install" the bone information into the dinosaur in the digital environment, so that it can really become a "digital character" with flesh and blood;

These data will synchronize the Creature Effects team, and to create an operable mechanical entity based on this, and finally combine with digital dinosaurs to complete the final "performance".

In order to better present the feather effect on the dinosaur, the David team developed a whole set of feather systems called "翎 feathers" in Houdini software!

It can simulate the performance of feathers in the state of rain, snow, ice, etc., and gives artists a huge creative space and flexibility.

The process of creating a rapid Rogu Bruce is equally difficult.

Bru's skin will show subtle changes in blue, green, brown, gray, etc. under different light;

Therefore, the crew will carry a full -size and fast -dragon -headed physical lighting reference model on the set to record data in different light environments, and then reproduce the skin texture and color state in the digital environment.

David also emphasizes the importance of the creation of "eyes" to the creation of "dinosaur micro -expression" and transmitting dinosaur emotions.

"The light reflected on the surface of the eyes shows depth and emotions.

If you don't believe its eyes, dinosaurs are not credible.

Everything is in the eyes. "

Thirty years ago, "Jurassic Park" laid the "aesthetic system" for the entire series and standardized the "Jurassic Aesthetic Language System".

Director Colin is a loyal fan and number one fans of this aesthetic system.

In the shooting equipment, the director borrowed the "Old" Panavision camera when Steven Speelberg took the 93 version of the "Jurassic Park" to complete the shooting of some of the new film clips.

△ 93 version of "Jurassic Park" shooting scene

△ "Jurassic World 3" shooting scene

Not only that, this time he also chose to restore the retro texture with 65mm and 35mm film.

In order to capture the details of the night view, the film was shot at night.

The film picture has a sense of granules and a retro style in the texture in the wooden pattern, which makes the audience seem to return to the "place where the dinosaur dream starts."

This "heart -hearted" level is probably the biggest respect for the artist's "Jurassic"!

As the "Light and Shadow Magician" behind Jurassic, Kevin and David also have a lot of exploration and experience in the frontiers of film.

In the video connection, the two shared the subjective feelings of the hottest topic of the current industry- "Virtual Production".

Kevin used the VR header to make 360 ​​° scene records and restores in the process of "Jurassic World 3", which greatly improved the viewing efficiency;

David focuses more on the flexibility of "digital landscape" and the advantages of light brought by LED.

However, the two also believe that "virtual production" is not limited to LED studio and engine, but a set of digital shooting production methods, as well as changes in the work methods, production methods, and even production ideas. The decision -making process of film creation has entered a new balance.

Moreover, can the virtual production system be integrated into the Hollywood mature production system in the future? How to integrate? It is not known yet.

In any case, the virtual producer, like the advanced tools used by all other movies, serves the storytelling. The right tools need to be used to use the right tools to get value from it.

In addition to the trend of the film and television industry, the two visual effects also shared their own entry experience, career planning, and the process of joining the "Jurassic Century 3" project.

The most important thing is that they have taught their experience in the film and television industry for many years in the video connection, and even the life perception of some filmmakers.

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"The relationship between technology and man" is the theme of running through the Jurassic series, and it is also the main line of the film industry for a century.

In 30 years, we witnessed every step of film and television technology through the "Jurassic Park" and "Jurassic World" and every revolution in the film industry.

The dinosaur picture that shocked us for the first time;

To this day, the "people and dragons have the world" built with various high -tech methods;

"Jurassic World" is not just the story of the big screen. It has become the "parallel universe" and "another dimension" in our lives.

It is due to the talents and efforts of many artists behind the scenes that we can witness the "image miracle" of technology and imagination in the cinema.

Today, with the successive resumptions of movie theaters such as Shanghai and other places, fans who have been waiting for a long time may wish to quote their companions, join the ranks of "Jurassic World 3", and see the style of the prehistoric giant!Click to watch the full -length video of "Dialogue Jurassic Vision"

https://www.bilibili.com/video/bv1jf4y1d7z3/?vd_source=A093A3AD05D35E7E1AA103F8FA19781F

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