Aren't you supposed to be a genius or something?

Look. One, Two, Three, Four.

Five.

(dinosaur growling)

(intense music)

(dinosaur roaring)

Hi, I'm Mike Seymour from fxguide.com for Wired.

With half a billion dollars in its opening weekend,

the park is very much open for business.

Jurassic World is said to be the biggest film of the summer.

As the name would suggest, we're back amongst the dinosaurs

with ILM delivering both old friends

and some new pretty evil enemies.

To get the subtle performances,

ILM decided to go heavily into motion capture,

which is kind of an unusual choice given the size and shape

of say, the raptors.

When you typically use motion capture to add realism,

but the performance artist couldn't even physically stand

the way a raptor does for any length of time.

If you really dealt with it

from a company side as big as ILM,

where you can do a lot of noodling afterwards on it

to get things to work,

what is the advantage of motion capture?

Even, is there one?

Well, there is.

And it's the complexity of the motion.

You can get far more stuff going on than could ever

be animated by a great animator,

and you can it from many shots with many characters.

It'll give it a look you haven't seen before.

I think it's really set a bar.

A new bar, a higher standard,

and when I see dailies on this,

like, I have not seen anything like this before.

You know, they look like they were heavy.

They look like they have a life to them.

The skin is actually moving over the bones,

and the bones are moving under the skin.

[Mike] What's most impressive is how ILM's team

managed to re-target the motion capture performances

to these vastly differently shaped models,

and not loose in the process the subtlety

and the high-frequency detail of the original performances.

We actually cast four people here that were the raptors.

So every time we needed to do Blue,

this person would show up.

So in terms of the re-targeting,

each person kinda leaned over a little bit differently,

or put their arms in a slightly different position,

and knowing that person and how to re-target that

to that particular raptor was really the key.

To add to this work of the animators

and motion capture artists, on top of that,

there's a very detailed and extremely important layer

of time consuming complex flesh simulations,

which give the, especially the Indominus Rex,

believable movement.

Well, believable for a genetically-engineered, camoflauging,

40-foot long, hybrid dinosaur hunter.

Don't forget, subscribe for more behind-the-scenes action.

I'm Mike Seymour for Wired.

(dinosaur roaring)

(intense music)

(gun shots)

(crashing)

(dinosaur roaring)