Mostly, the new installment excavates the original film. Fallen Kingdom pilfers, for example, from the moment in Jurassic Park when the principal characters—Alan Grant, Ellie Sattler, John Hammond, and Ian Malcolm—gaze up at the brachiosaurus for the first time.
The scene was jaw-dropping for characters and audiences alike. It carried weight: it occupied the scene, it bent tree branches, and it stomped around and shook the earth. It felt real. They glide in and tear people to pieces but leave no trace and inflict no emotional impact, not on the audience at least; several characters hope to rescue the dinosaurs from extinction.
Audiences are left to ponder why. Maybe the latest innovations in special effects have rendered the dinosaurs too glossy, too perfect, and therefore uninteresting. They have no substance, literally or metaphorically. These dinosaurs are not claymation or cartoons, but they might as well be.
They feel like lingering ghosts haunting the screen, rejected by better prototypes. Remember the children in the original being nearly crushed in the car under the weight of the t-rex, with only a piece of glass separating them? We saw their fingers pressed against the glass pushing the dinosaur back, and we imagined their terror. Recently, a multitude of nostalgia horror films and series have emerged. Their secondary purpose after terrifying audiences, of course, is to gesture to past scares.
Back in , cinematic computer graphics were still in their infancy. Even though computer-generated images had appeared in movies since the s, filmmakers were still grappling with how best to use the technology in the early '90s.
But when Steven Spielberg 's Jurassic Park arrived, it brought with it a genuinely groundbreaking use of visual effects that set a standard that's still followed today. That's an incredible achievement considering how far computer-generated effects have developed in the last few decades.
Now, CGI is ubiquitous to the point that it's a rarity to see a new movie released without some form of computer-aided enhancements. When Jurassic World 3 debuts in , it's bound to arrive laden with digital dinos and computer-generated environments. But back in , audiences weren't used to seeing the kind of convincing visual effects Jurassic Park introduced — making the film a truly pioneering blockbuster.
Using a mixture of practical effects and computer-generated imagery, Spielberg, Stan Winston , and ILM managed to craft an iconic film that remains impressive even by today's standards.
By not leaning too heavily on computer imagery, mixing real-life animatronic puppets with digital effects, and making careful use of lighting, Jurassic Park has more than stood the test of time.
Spielberg and his effects teams succeeded in creating convincing visual effects because they didn't rely on CGI as their go-to tool. In fact, only four to five minutes of the total minutes of dinosaur scenes were entirely computer generated. All the other visual effects were created using Stan Wintson's various physical dinosaur models. The legendary technician, responsible for creating practical models for Predator and Terminator , built everything from animatronic puppets, to to a full-size animatronic T-Rex, and even Velociraptor suits that could be worn by stuntmen.
CGI was then used to build on top of what the production team had already created on-set. In other words, Jurassic Park 's CGI still looks so good today because there isn't much of it in the film, which makes sense considering the limitations of the technology at the time. But while CGI was undoubtedly limited back in , Jurassic Park actually represents somewhat of a revolution in the use of computer graphics.
Surprisingly enough, in the early stages of production there wasn't any major CGI planned for the film. The 3D makeover is pretty impressive given how nauseating watching a movie that way can be. Not to mention the movie still remains a crash course in set design. Kudos to Spielberg for creating a literal other world here. Not for its stellar writing, or even acting. Both of those are actually pretty subpar upon a more critical viewing. And for Jeff Goldblum.
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