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  "path": "/jurassic-world-rebirth-vfx",
  "publishedAt": "2026-03-04T20:11:25.000Z",
  "site": "https://nofilmschool.com",
  "tags": [
    "Jurassic world",
    "Gareth edwards",
    "Vfx",
    "David vickery",
    "Ilm",
    "Jurassic world: rebirth",
    "Practical effects",
    "_Gareth Edwards'_",
    "www.youtube.com",
    "_50 pages of_ __Rebirth__ _'s_",
    "_a student filmmaker who also faked his ocean shots_"
  ],
  "textContent": "\n\n\n\nThis week, ILM released a VFX breakdown reel for _Gareth Edwards'_ _Jurassic World: Rebirth_ , narrated by VFX supervisor David Vickery, which makes a case that runs counter to much conventional filmmaking wisdom.\n\nSometimes, going fully digital might be the smarter creative decision, the team says. Here’s why.\n\n- YouTube www.youtube.com\n\n## CG Can Give More Control\n\nThe entire opening scene of _Rebirth_ is a fully CG creation. Not because they couldn't shoot it, but because it gave Edwards the control he needed to open the story exactly right. This meant no weather to consider, no animal wrangling, no logistical anything.\n\n## Can You Do Settings Differently?\n\nOver _50 pages of_ __Rebirth__ _'s_ script take place on the ocean. Only about 10% of those sequences were actually shot there, and of the shots in the film's VFX reel, only seven feature any real water.\n\nMuch like Steven Spielberg did for _Jaws_ , the production shot in a tank in Malta, and ILM built an entirely new water effects pipeline to sell the rest.\n\nEmerging filmmakers tend to think \"real location means authenticity.\" But even for low-budget or student directors, it’s possible to take advantage of the same idea. In fact, we just covered _a student filmmaker who also faked his ocean shots_.\n\n## Conditions Can Make the Decision for You\n\nFor the T. rex rapids sequence, the production shot at a whitewater rafting center in the U.K., which was so cold that actors had to wear wetsuits under their costumes. VFX had to entirely replace arms and torsos in post.\n\nThe rapids environment itself was fully digital. Even the inflating raft was a VFX simulation, with the actor miming pulling the rip cord on set.\n\nYou can't always control weather, temperature, or location conditions. Knowing in advance which elements VFX can take over (and building that into your workflow before you shoot) means you still get the shot you need without waiting for conditions that may never come.\n\n## The Small Practical Detail Sells the Digital\n\nThe Titanosaur courtship sequence is two massive CG creatures. The team added small birds taking off and landing on the creatures' backs.\n\nWhenever you're asking an audience to believe something impossible, find the small true thing inside it. A creature that interacts with the world in what seems like a mundane, specific way feels more real.\n\n## Know What Each Tool Is For\n\nMany filmmakers, including Ryan Coogler, are proponents of starting practical. And _Rebirth_ did do some of that, starting with plates that they composited for environments, etc.\n\nWhat to remember is knowing what practical gives you, knowing what digital gives you, and choosing based on what the scene needs.",
  "title": "The Case for Fully CG Filmmaking in 'Jurassic World: Rebirth'"
}