Chapter 5: Dinosaur Special Effects, I Have Three Filming Techniques

Chapter 5: Dinosaur Special Effects—Three Filming Techniques I Employ

Watching the excited veteran filmmaker, Qin Feng quickly grasped his hand and smiled warmly. “Director, you are too kind. As a junior, I have so much to learn from you.”

After exchanging a few polite words, Spielberg settled back into his seat. His gaze toward Qin Feng was filled with praise and admiration.

Kennedy continued, “Qin Feng is not only our chief screenwriter but also a director. The company has decided that he will serve as the assistant director, assisting Mr. Spielberg throughout the filming process.”

In Hollywood productions, it’s common to have three or four assistant directors, so no one found this unusual.

“No objections?” Spielberg asked.

Everyone remained silent.

“Then, Qin Feng, you will have your hands full from now on,” Spielberg said with a smile.

“It’s my honor!” Qin Feng replied.

Spielberg looked around at the group. “Has everyone read the script? If there are any questions or difficulties, please speak up.”

...

“The toughest challenge is undoubtedly the dinosaur special effects. Filming Nubra Island and the buildings on it is manageable—we can create various sets. But dinosaurs? We’ve never tackled that before, and it’s very challenging.”

“The script features ten types of dinosaurs, encompassing both static and dynamic shots, close-ups and long shots. The difficulty is considerable.”

“With our current post-production team, I don’t think we can guarantee the quality and timing required for such a massive workload.”

Qin Feng listened intently, taking notes.

Because science fiction films are few and of relatively low quality, the film special effects industry in this world lags somewhat behind the previous era.

However, once the number of sci-fi films grows and a market is established, special effects will inevitably catch up.

Spielberg pressed his hand down firmly.

“It’s precisely because we’ve never done this before that we’re filled with challenge. It’s because it’s uncharted territory that the audience will find it novel.”

“We must take the brave first step!”

“I believe that as long as Jurassic Park is spectacular enough, audiences will fall in love with sci-fi films, and our path will only extend further into the future!”

Everyone fell silent for a moment, understanding that a big-budget sci-fi film must first be a trial.

At this point, someone suggested, “If it really doesn’t work, we could revert to the old special effects methods or even use stop-motion animation.”

Immediately, another voice opposed this. “No... the dinosaur scenes are the highlight, and many scenes involve interaction. If the effects look too fake, the audience will be easily pulled out of the experience.”

Furrowing brows, everyone pondered the practical problems.

Most lacked full confidence.

Spielberg then looked at Qin Feng, who had been silent.

“Qin Feng, you’ve directed before—any good ideas?”

All eyes turned to him.

Qin Feng had done his homework. Clearing his throat, he spoke slowly:

“To achieve truly lifelike dinosaur effects, we need to use at least three methods.”

“Oh?” Spielberg’s eyes brightened.

“Please, tell us!”

“First, we must create mechanical models for different close-up shots. These models should be remote-controlled, known as electronic mechanical puppets.”

“For the key character, the Tyrannosaurus rex, we’ll need a full-body mechanical model that can be filmed from every angle.”

“Second, we’ll combine live actors and mechanical models. For example, for the velociraptors, we make latex skins for stunt actors to wear, who will mimic the raptors’ movements. However, the head motions will still be controlled mechanically.”

Everyone nodded in agreement.

The first two points were easy to understand—some previous films had used these techniques.

“The third is crucial: CGI technology. We need computer-generated imagery for medium and long shots of dinosaurs that can be produced in large quantities.”

“These three methods complement each other and must be effectively combined. Even if there are minor flaws, as long as the actors’ performances and environmental sounds blend well, the audience will believe it!”

The group exchanged astonished glances.

No one expected such knowledge from this young man from China.

“But...” someone raised a doubt, “even for medium and long shots, our post-production team might not be able to handle the special effects demands.”

“That’s right,” Qin Feng said. “If we can’t manage it ourselves, we must find the best teams in the industry to collaborate with.”

“The only company capable of delivering the ideal dinosaur special effects is Industrial Light & Magic.”

Industrial Light & Magic (ILM) was indeed legendary in the special effects industry, founded by George Lucas, the director of the Star Wars series.

Due to the slump in the sci-fi film market, ILM’s business had not been smooth, and layoffs were frequent.

“So... which company should we approach for the mechanical models?”

Kennedy smiled. “I know one—Stanley Effects Studio. I know its founder, Stanley Winston. They have done many mechanical model projects.”

With a plan in place for the dinosaur segments, the rest could be filmed normally.

No one voiced objections.

“Everyone,” Kennedy said, “this project must move forward immediately. Each department needs to speed up; we’ll compress the schedule as much as possible to get the film in front of audiences soon.”

“All right, I’ll assign the tasks,” Spielberg declared.

First, he would lead negotiations with ILM and Stanley Effects Studio, then hand over to the post-production team.

The actors’ guild would be contacted promptly to find suitable performers.

The location team would select appropriate Nubra Island sites and oversee studio selection and construction.

The service department would begin researching and preparing relevant props and costumes.

Everyone needed to dive into their tasks to ensure an early start to filming.

Finally, Spielberg looked at Qin Feng.

“Qin Feng, your first task is to find a dinosaur expert.”

“We need the most professional, firsthand dinosaur information.”

Qin Feng nodded. “No problem.”

Spielberg gave a few more instructions before the meeting ended, and everyone got to work.

...

Back at his desk, Qin Feng turned on his computer and searched for the most professional paleontologists in America.

After some searching, the internet was cluttered with mixed information, and the number of people found only increased.

He closed his eyes and recalled.

In the previous life, the scientific advisor was Dr. Jack Horner, who worked at a dinosaur museum in Montana.

After some online research, Qin Feng found the museum’s phone number and address.

He contacted the staff and obtained the doctor’s phone number.

Qin Feng dialed it.

“Hello?” An elderly voice answered, seemingly busy.

“Hello, are you Dr. Jack Horner?”

“Yes, what is it? Make it quick.”

“Doctor, I’m Qin Feng, assistant director at Universal Pictures. We’re preparing a dinosaur film and would like you to be our scientific advisor...”

“I’m not available!” The reply was curt.

“Uh, Doctor, please consider it. This film will greatly help audiences understand and appreciate dinosaurs.”

“I said I’m busy! I have work to do!”

“Dr. Horner, please hear me out—”

“I’m hanging up now. That’s it!”

...

Qin Feng looked at his phone; the call had already been disconnected.

“Hmph—our mission hasn’t even begun, and already a setback!”

(End of Chapter)