Dinosaurs Cinema 2
World screens are reappeared by the Park of the Yuri period, one of the most famous fantastic films in film history. The Stephen Spilberg Blockbuster not only earned more than $900 million in world procate in 1993, but also launched a new vector in the development of special effects. It is realistically created dinosaurs that have become the key to the tremendous success of the vision of the audience. In this article, we will describe the technologies used by filmmakers to revive prehistoric creatures.Later, Winston admits that at the time of the first conversation with Spilberg, he had no idea how they would make dinosaurs. But Stan Winston's most important thing has cleared himself, Steven Spilberg will need eight most realistic characters of prehistoric creatures. The director doesn't want to repeat the trick with the music and the concealment of the character from the visual eye, which worked splendidly with the shark in Celusty. Many dinosaurs will show full growth in the World Wark, so they must look at the big screen.
The design of eight different dinosaurs continued throughout the year. At the same time, Stan Winston had no signed contract.
Esquis tyrannosaur, performed by the artist Crash McCreary
Esquis of prehistoric creatures painted by Crash McCreary's artist. Stan Winston asked him to follow the facts and materials known for paleontology at that time when working on samples. Of course, cinematographicists have also sought scientific advice. For example, one of the project ' s consultants was the professor of paleontology and the curator of the National Natural History Museum, Jack Horner, who was under a strong impression from the mechanical dolls of tyrannosaur and theraptor. The Industrial LightMagic Visual Impact Studiation Studio was initially engaged as a company that removes various devices for the management of dinosaur models, conducts a composer and adds an image blending effect to mobile personnel. Prehistoric animals♪ They were expected to be revived by animation machines and go-motion techniques. But during the preparatory period, the ILM studio artists, led by the Dennis Murren superweiser, prepared animational role with running galimims (dinosaurs - Prim.). The quality of the test animation was so much higher than the results shown by go-motion techniques that Spilberg immediately decided to revive dinosaurs in the most dynamic scenarios with digital technology. In order for the audience not to see the difference between the dolls and the three-dimensional models, graphic artists created dinosaurs, taking into account the maquet scans made by Steen Winston's masters. The integration of digital lizards into the personnel was carried out with a record of lighting, and always after a thorough cam movement. Particular attention has been paid to minor details, such as spray and dust, which have made a realistic interaction of computer dinosaurs with real scenes. For example, in one of the tyrannosaurus episodes, wet from the rain. The spatters of the liars were removed separately, after which they were combined with the material of the main film and the computer lizard.