To celebrate the home release of JurassicWorldDominion, we chat with VFX supervisor davidvickery about the challenges of various environments, his favorite dinosaur, and more:
An epic saga is coming to a close with Jurassic World Dominion. The film acts as a conclusion to the Jurassic Park and Jurassic World trilogies, with humanity struggling to coexist alongside the freshly-released dinosaurs. Meanwhile, doctors Alan Grant, Ian Malcolm, and Ellie Sattler investigate a dark conspiracy within BioSyn, the former rival to Jurassic Park financier InGen.
What have been some of the biggest challenges for you exploring this dinosaur world mixed with the modern day? This is easily the most diverse range of locations we've seen in the Jurassic Park franchise yet. Was there any particular setting that you found the most challenging to work with? It flows very seamlessly, so kudos to you on that. With Jurassic World Dominion, we saw Colin Trevorrow return to the director's chair over J.A. Bayona on the last film, what's that like for you working with two different filmmakers, but still being set in the same universe?
David Vickery: That's a great question, as well. The big goals that I could see that Colin was laying down in front of us for this film were to truly understand what it would be like if dinosaurs existed in our world. That was the big pitch, it was what happens if humans and dinosaurs interact, and what does that look like.
Working on the digital feathers, we built a new feather system at ILM in Houdini, which allowed us to procedurally generate all the feathers on the creatures. Then it gave the artist the ability to simulate feathers and wind and water and snow and ice and bring all of those simulations into the same piece of software, so that they could all interact with each other beautifully.
We had to shoot multiple array plates, tracking vehicles running down streets with three or four cameras capturing background plates for us. We scanned huge swathes of Valetta city streets digitally, so that we could rebuild them in in post-production and insert plates of Chris and Bryce on green screen into those shots to create the seamless effect that they actually went to Malta and filmed that.
David Vickery: I think that missed me. [Laughs] The guy on the scooter is a competition winner, he won a competition to be eaten by a dinosaur. I think in pre-production, Chris had announced this competition and everybody entered and this guy won, so my kind of memory of that whole thing is that we got lumped with this idea that suddenly we were creating some sort of composite to get a guy from America who'd won a competition into a plate that was in Malta.
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