We had tech scouts where the DP, John Schwartzman, was still isolating before he was able to come back onto set. “It was hard to understand how we were going to be able to communicate with each other, because suddenly we had to stay distant, were all wearing masks and couldn’t all cluster around the director’s monitors. “Nobody knew what was going to happen when COVID-19 hit and we had to start shooting again during the pandemic,” Vickery states. “Because of our previous working relationship, Kevin trusted me to take incomplete designs to ILM and to continue their evolution.”įive weeks into principal photography for Jurassic World: Dominion, the pandemic caused a global lockdown. “Kevin clearly understands visual effects and worked a lot in 3D, so he could hand those designs over to us,” Vickery observes. ” Collaborating with Production Designer Kevin Jenkins was easy as he is a former art director at ILM. I worked closely with the previs and postvis teams. “ Colin Trevorrow had a one-on-one relationship with the storyboard artist, and those storyboards were handed over to us to create animatics. “There are always new challenges.” About 1,450 visual effects shots were created, with ILM being responsible for 1,000 shots while the rest were handled by Lola VFX and Hybride. “I’m still working on dinosaurs! Not the film ones, but for promotional media, advertisements and public relations related stuff.” Any concerns of repeating himself were alleviated by working with a different director, crew and script. ![]() ![]() Prehistoric beasts have had a constant presence in the life of David Vickery, who served as Visual Effects Supervisor on Jurassic World: Fallen Kingdom and Jurassic World: Dominion.
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