For Jurassic Park III, I was running it through animation per frame and also with heavy displacement. for a static model for the planes in Pearl Harbor. It was much more of a leap of faith, what I had to do. I grabbed the idea of this ambient occlusion technique. “Production-Ready Global Illumination.” Course 16 notes, SIGGRAPH 2002. Ambient occlusion passes for Pearl Harbor and Jurassic Park III assets. I was CG supervisor, with Jim Mitchell as the main visual effects supervisor on the show. And then in parallel to when Pearl Harbor was still going, Jurassic Park III started. That was a big breakthrough for those guys for Pearl Harbor. But ambient occlusion is what made it reality where all of a sudden we could directly use the map and drive diffuse and have semi-correct shadowing, essentially, or self-shadowing. On set, we would acquire the grey ball and the reflection ball, and we had had tools for years to extract them and try to do things with them directly. It was a push from Joe Letteri in many ways when he was at ILM. They came up with the idea of extending reflection occlusion essentially to a full diffused hemispherical domain. So then ambient occlusion was the next step, and it was led by Hilmar Koch, Ken McGaugh and Hayden Landis on Pearl Harbor. Dan Goldman and Stefen Fangmeier had worked on that prior to Jurassic Park III, including on Speed 2. Reflection occlusion is something that we had worked on. What was being done in lighting at ILM right before this?Ĭhristophe Hery: Well, previously, we had point light sources that we were just placing judicially. Vfxblog: Tell me about ambient occlusion on Jurassic Park III. Vfxblog sat down with Christophe Hery, a CG supervisor at ILM on Jurassic Park III (and now senior scientist at Pixar), to discuss some of these important visual effects developments. And it was here that foliage simulation (care of Maya’s Paint Effects) and full virtual environments were also relied upon. It was here that ILM tackled dynamic flesh simulation for the creatures. It was here that ambient occlusion – first developed on Pearl Harbor – was adapted to be run per-frame on animated creatures and with heavy displacements to provide far greater detail on the dinosaurs. But it was also ILM’s adoption of several new technologies that made Jurassic Park III a game-changer. ![]() The film was, of course, full of major effects work, not least of which were some meticulous ILM miniatures for the thrilling light plane crash, as well as Stan Winston Studio’s animatronic dinosaurs. Yet, in many ways, it heralded several major steps forward for ILM and digital visual effects. So groundbreaking had the CG breakthroughs been in the original Jurassic Park and then subsequent films worked on by Industrial Light & Magic that the release of Joe Johnston’s Jurassic Park III in 2001 did not arrive with such a huge degree of VFX fanfare. They also work together to trap the humans, so it's a war of brains, not just brawn.The surprising game-changing VFX of Jurassic Park III They appear to play a sort of kick-the-can with the downed plane's cabin. This time, they swim, they fly, and they fight each other. The dinosaurs are bigger and better than ever. And there's a nice Blair Witch moment when some characters find a video camera dropped by another character and replay the footage to see what happened to him. ![]() There's a delicious variation on Peter Pan's crocodile that once swallowed a clock, so Captain Hook can always hear ticking when he is approaching. But the script has clever moments, including some sly digs at The Lost World. When a man's ex-wife says that he never takes chances, you know what's coming, and you'll probably be able to guess as we meet each character which ones will survive to the end of the movie. Two good things to have when fighting smart dinosaurs are opposable thumbs and a cell phone. It just gets right down to business in 90 quick minutes of little people being chased by great big scary things, with just enough plot and character to provide breathing space and a reason to care who survives. Jurassic Park III doesn't waste time with chaos theory mumbo-jumbo or dumb "dinosaurs come to America" plot twists like the second episode, The Lost World. ![]() It may seem odd to speak of a made-to-be-blockbuster as unpretentious, but the aspirations of this movie are remarkably - almost endearingly - modest.
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