We trace the evolution of dinosaur effects in the "Jurassic" movies, from the Tyrannosaurus rex in the paddock scene from "Jurassic Park" (1993) to the feathered dinosaurs and Giganotosaurus introduced in "Jurassic World: Dominion" (2022).

We spoke to legends like Dennis Muren, who was in charge of Industrial Light & Magic's full-motion CG dinosaurs for "Jurassic Park" and "The Lost World: Jurassic Park" (1997), and Phil Tippett, the pioneering stop-motion artist behind Tippett Studios and dinosaur supervisor on "Jurassic Park."

Jean Bolte, a texture artist at ILM, shares what it was like to witness the initial CG T. rex tests, which were so groundbreaking they convinced Steven Spielberg to go the digital route for his dinosaurs. Matt Winston, cofounder of Stan Winston School and a puppeteer on the original "Jurassic Park," breaks down the revolutionary mold-making process and hydraulic technology used on the T. rex animatronic in that film and explains why his father, Stan Winston, favored a variety of practical and digital techniques to convince audiences the "Jurassic" dinosaurs were real.

Howie Weed, a digital effects artist on "The Lost World: Jurassic Park," and Jon Alexander, the compositing supervisor on that film, discuss the techniques used to bring the chicken-sized Compys to life.

"Jurassic Park III" (2001) director Joe Johnston explains how his team engineered the climactic battle between the Spinosaurus and T. rex, while Matt sheds light on the process of sculpting and assembling the Spinosaurus puppet for that film, the largest animatronic ever made for a movie.

Finally, Neal Scanlan, the creature effects supervisor on "Jurassic World: Fallen Kingdom" (2018), and David Vickery, the VFX supervisor on "Fallen Kingdom" and "Dominion," tell us how they brought the franchise's creatures into the modern day with innovative techniques in both the physical and digital worlds. Neal describes how "Fallen Kingdom" expanded the role of practical creature effects, including the variety of partial animatronics his team created for the Indoraptor, a new fictional species introduced in the film. And David, coming off "Jurassic World: Dominion," shares the 'digital archaeology' process that his team used to restore the model of the T. rex from earlier films, the Quill software ILM's engineers built in order to give the dinosaurs feathers, and how the VFX team worked with John Nolan's animatronics team to give birth to complex creatures like the Giganotosaurus.

"Jurassic World: Dominion" is now playing in theaters.
https://www.jurassicworld.com/

For more from ILM:
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For more from Stan Winston:
https://www.stanwinstonschool.com
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For more from Neal Scanlan:
https://www.nealscanlan.com/

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