{"id":5266,"date":"2015-06-10T17:50:31","date_gmt":"2015-06-10T17:50:31","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=5266"},"modified":"2021-06-01T16:48:54","modified_gmt":"2021-06-01T23:48:54","slug":"dino-mite","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/","title":{"rendered":"Dino-Mite!"},"content":{"rendered":"

John Schwartzman, ASC, returns to paradise (run amok) with the fourth installment of Steven Spielberg\u2019s epic action franchise<\/strong><\/p>\n

More than two decades ago, Steven Spielberg introduced filmgoers to living, breathing photo-realistic dinosaurs in his landmark roller-coaster action ride, Jurassic Park<\/em>. Now, with Universal\u2019s fourth entry in the franchise, Jurassic World, <\/em>director Colin Trevorrow and director of photography John Schwartzman, ASC, return to the idyllic Isla Nubar, with technology and moviemaking advances even Spielberg might not have foreseen in 1993.<\/p>\n

\"John<\/a>
John Schwartzman, ASC getting a light reading on Jurassic World\u2019s Kaui location<\/figcaption><\/figure>\n

Two decades later, Jurassic World is now a smoothly running theme park,<\/strong> located on the same postcard-perfect little island off Costa Rica. These days, visitors can easily traverse the park on a variety of vehicles, including the ultracool GyroSphere, a two-person glass hamster ball. Guests get to mingle with plant-eating dinosaurs, similar to California\u2019s real-life San Diego Wild Animal Park setup, and all is well in this now corporate-run prehistoric playland.<\/p>\n

Or is it?<\/p>\n

Advancements in dinosaur rebirth science have continued via Claire Dearing (Bryce Dallas Howard), and her genetically modified T. Rex, dubbed \u201cIndominus Rex\u201d (or \u201cD. Rex\u201d for short), combines DNA containing all the scariest traits of its Jurassic companions. Add to this mix the theme park\u2019s chief dino-wrangler, Owen Grady (Chris Pratt), in charge of training the always-volatile Velociraptors. When Dearing\u2019s nephews arrive on the island for a visit with their aunt, the genetic mutant, D. Rex, escapes from its pen, and with the boys off exploring on their own, all hell breaks loose.<\/p>\n

Spielberg handpicked Trevorrow after seeing his Sundance indie hit Safety Not Guaranteed<\/em>, a quasi-sci-fi romance made for around $700,000. The jump up in class may seem incongruous, but as producer Patrick Crowley [see Exposure<\/em>, page 28] notes, despite its tiny budget, \u201c[Safety Not Guaranteed<\/em>] was an Amblin-style movie. There\u2019s a supernatural aspect shaping the characters. And since Steven sees himself in a lot of young directors, he\u2019s willing to take a chance when he sees talent like this.\u201d<\/p>\n

As for Schwartzman, Trevorrow loved action hits like Armageddon<\/em>, and brought the former on in the spring of 2013 for a planned 2014 release. When the project was pushed a year due to script tinkering, Schwartzman went off to shoot Dracula Untold<\/em> before returning in early 2014 to begin preproduction. Shooting began in Hawaii (Oahu and Kaui), before moving to New Orleans and the massive stages at NASA\u2019s Michoud Assembly Facility (where Apollo\u2019s famous Saturn rockets were built), with other outdoor sets at the nearby former Six Flags parking lot.<\/p>\n

Schwartzman brought on many of his trusted Local 600 team members, including A-camera operator Ian Fox and B-camera\/Steadicam operator Chris Haarhoff, SOC, along with longtime Key Grip Les Tomita. Veteran Guild shooter Patrick Loungway, who had just come off Dracula Untold<\/em> with Schwartzman, handled 2nd Unit, although that work was limited (as was B-camera shooting due to Trevorrow\u2019s preference for single camera) mainly to the film\u2019s large and complex action scenes.<\/p>\n

\"Jurassic<\/a><\/p>\n

Per usual, Schwartzman shot on film with Panavision cameras<\/strong> \u2013 XL2s and his favorite from The Rock<\/em>, his own Platinum 452 \u2013 as well as with a large-format Panavision 65 mm for capturing wide establishing shots. \u201cWe had an allotment of 65-millimeter film,\u201d Fox recalls, \u201cand we maxed it out. It was beautiful to see those cameras back on set again.\u201d<\/p>\n

Film stocks included Kodak 5205 (50D), 5213 (200T) and 5219 (500T), partially in an effort to maintain consistency with the previous three films. \u201cSteven wanted to keep it in the same family,\u201d Schwartzman explains. \u201cBut I also lobbied for film because Hawaii is such a high-contrast environment \u2013 you\u2019ve got very dark greens in the jungle with very, very bright white clouds. And film can handle more contrast than digital.\u201d<\/p>\n

Jurassic World<\/em> was slated for native 3D capture, but after the production delays, Universal opted for a 3D post conversion, performed by Stereo D, following color timing by Stefan Sonnenfeld at Company3.<\/p>\n

\u201cI told Colin the only way to make a movie that you\u2019re going to convert to 3D is to make the best 2D version you can,\u201d Schwartzman recounts. \u201cWe can\u2019t have one foot on the platform and one foot on the train; let\u2019s utilize the nuances we have in 2D, like long lenses and lens flares, that will help ground the audience in the moment.\u201d<\/p>\n

The DP also wanted to shoot anamorphic (2.40:1), while Spielberg was leaning toward 1.85:1, due to the presence of many tall dinosaurs. Trevorrow suggested a compromise \u2013 2:1 \u2013 applying Vittorio Storaro\u2019s Univisium concept. \u201cIt\u2019s exactly between the two ratios,\u201d the director explains. \u201cIt allows for a sense of scope, while giving us the height to have a human and a dinosaur in the same frame.\u201d It also allows viewers to watch comfortably on portable digital devices, one of Storaro\u2019s main objectives of the format. \u201cAnd, on the flip side, all digital IMAX screens in America are native 2:1, so we\u2019ll fill it completely,\u201d Trevorrow adds. \u201cNo switching back and forth between ratios.\u201d<\/p>\n

\"Jurassic<\/a>
Schwartzman and director Trevorrow made extensive use of the 50-foot Technocrane throughout Jurassic World\u2019s many long and complex action scenes.<\/figcaption><\/figure>\n

A key part of the look of Jurassic World<\/strong> is the use of long, complex master shots with very little coverage \u2013 much like those used by Trevorrow\u2019s directing mentor. \u201cThese films have a certain cinematic language,\u201d he continues, \u201cand we tried to do it just enough to make people feel like they\u2019re watching a Jurassic Park<\/em> movie.\u201d That language incudes \u201cmany pieces of information in a single shot, with the camera moving to cover each of these pieces of information. It\u2019s the kind of filmmaking that I grew up loving. How much of this story can we tell in this one well-designed shot?\u201d<\/p>\n

As Schwartzman confirms, the shots were epic without the safety net of coverage. \u201cI would always say, \u2018Hey, Colin, what about if I throw a B-camera over here, and we just punch in and get a piece of Chris Pratt?\u201d Schwartzman laughs. \u201cAnd he\u2019d go, \u2018You know. . . I\u2019m never gonna use it.\u2019 Finally, about halfway through the movie I realized, \u2018This guy knows exactly what he\u2019s doing.\u2019 It was a very bold way to direct, and it paid off.\u201d<\/p>\n

The best tool Trevorrow discovered for his big-budget debut also happens to be Schwartzman\u2019s favorite: a 50-foot Technocrane, which the DP has carried, along with a 15- and 30-foot Techno, on his last seven movies. \u201cOn any big movie now, I live on it,\u201d Schwartzman shares. \u201cI use it as my dolly.\u201d Libra heads were employed, because as Fox notes, \u201cthey minimize vibration or interference, and take out all the bumps and kinks.\u201d<\/p>\n

Fox operated camera and crane with the assistance of dolly grip Alan \u201cMoose\u201d Schultz, Technocrane technician Derlin Brynford Jones, Libra technician Adam Austin and 1st AC Tucker Korte. \u201cThey\u2019re the best machine you\u2019ve ever seen,\u201d Schwartzman boasts of his camera crew. \u201cThey understand each other, and how to move and how to make adjustments. It\u2019s why I fight to get them.\u201d<\/p>\n

Trevorrow\u2019s workflow included coming over to the Techno console to \u201clook at different ways to do the shot \u2013 extending the crane, changing the focal length of the zoom, et cetera<\/em>. Little by little, he and John would build the shot from a blank canvas,\u201d Fox describes. \u201cIt was not your typical \u2018put a 50-foot Techno up in the air and shoot high and wide,\u2019\u201d Schultz confirms. \u201cThere were very few shots where we parked it in the sky.\u201d<\/p>\n

Schwartzman details how he used the Techno to the film\u2019s full narrative advantage: \u201cI would follow the boys, running behind them, starting very low, right on their heels. And then I\u2019d suddenly do a quick rise up, as they\u2019re running through the grass, and swing around and see what they were running from, and we see the dinosaurs chasing them from behind. Sometimes we would follow Bryce Dallas Howard in the Control Room as she walked up the set, which was tiered. The crane\u2019s ability to come up and over and around things makes the action incredibly dynamic.\u201d As a base for the crane in the muddy Hawaiian locations, Schwartzman used an all-terrain vehicle, made by a U.K. firm, Bickers, and available in L.A. from ProCam.<\/p>\n

\"Jurassic<\/a><\/p>\n

Jurassic World<\/em> includes several crane shots that have become <\/strong>a Steven Spielberg trademark \u2013 staring from high up or out, and quickly pushing into a subject\u2019s face as the person realizes, for example, he\u2019s about to be eaten by a dinosaur. \u201cIt says a lot when someone can have a shot that only reminds you of him,\u201d Trevorrow says of such moves.<\/p>\n

Fox feels the approach makes for more intimate filmmaking. \u201cThe viewer sees a single human reaction, and, if it\u2019s technically well-executed, it becomes a very personal moment,\u201d he relates. Adds Schultz, \u201c[The crane push-ins are] attention getters because you\u2019re in such close proximity to the actor. I never worry about hitting them, but young actors, a lot of times, aren\u2019t used to being around big equipment, so you need to make them feel comfortable and not in any danger.\u201d<\/p>\n

Trevorrow and Schwartzman had detailed storyboards prepared for every action sequence by veteran storyboard artist John Coven, who Schwartzman says, doesn\u2019t just draw cartoons. \u201cYou give him a lens size and description, and he gets it,\u201d the DP marvels. \u201cHe really understands filmmaking.\u201d<\/p>\n

Previsualization was only prepared for two extremely complex scenes \u2013 an end battle between a D-Rex and T-Rex, and a scene in which the Pteranodons (the winged, flying Pteradactyls) breach the dome that contains them and escape. The latter was prepared by ILM and led by Visual Effects Supervisor Tim Alexander, who numbered each sequence\u2019s board, and then went through them with each department to determine who would do what and, most importantly, how much could be done in camera.<\/p>\n

\u201cOn a film like this, which is very Earth-based,\u201d Alexander explains, \u201cwe didn\u2019t want to create large set pieces if we didn\u2019t have to.\u201d Notes Stunt Coordinator Chris O\u2019Hara: \u201cYou still need an actor and you still need practical effects, because you don\u2019t want to build the whole environment in CG like a cartoon.\u201d Haarhoff agrees, adding that \u201cyou\u2019re gathering stunts, VFX and practical effects, so whenever you can have the real thing \u2013 like a tree shaking \u2013 it helps to sell the visual effect.\u201d<\/p>\n

Sorting out VFX on-set \u2013 particularly tricky for action sequences in which the key CG predators are not there to interact with actors or camera \u2013 made Alexander\u2019s role essential. \u201cOther than the director and the DP, Visual Effects Supervisors are the only ones who have visualized the entire film in their heads,\u201d Fox observes. \u201cI would consult with Tim a lot on things like: \u2018on this chase, behind the car, is there a Raptor in front, is there a Raptor behind? Should I leave room in the frame for this Raptor?\u2019\u201d<\/p>\n

Today\u2019s sophisticated digital VFX, which were not present on the first Jurassic<\/em>, have freed-up the camera for more realistic motion. \u201cI started in visual effects 25 years ago at ILM, when a matte shot was locked off and you\u2019d pour concrete for the tripod,\u201d Loungway reflects. \u201cNow, you can go handheld \u2013 or if there\u2019s spray on the lens or a lens flare, they tell us, \u2018Yeah, no problem \u2013 keep shooting, it\u2019s great.\u2019 The days of the VFX guy being the killjoy on set are pretty much over, which is pretty exciting.\u201d Adds Alexander: \u201cWe try to have as small a footprint on set as possible. If I see something that will be a real problem, I flag it. But, in general, we\u2019re here to help the filmmakers get the shots they want.\u201d<\/p>\n

\"Jurassic<\/a><\/p>\n

Of course, sometimes a little physical human help is required.<\/strong> In a scene in which Chris Pratt\u2019s character finds himself surrounded by Raptors inside the large-scale Raptor Arena, interpretive jazz dancers were put in gray suits and given Raptor-head helmets to effectively interact with both the actor and camera. Filmed by 1st Unit, with Haarhoff on Steadicam, the \u201cgray suits\u201d would act out appropriate Raptor behavior, under supervision of ILM Animation Director Glen McIntosh.<\/p>\n

\u201cColin would decide what their action was going to be, move them around,\u201d Fox describes, \u201cand the camera would respond as we were blocking it, either bringing them closer, or being over them. It\u2019s an interplay between Pratt and these characters, and you have to understand what\u2019s happening in that space.\u201d<\/p>\n

Haarhoff says the dancers \u201ctied Chris Pratt directly to the circling raptors. We would reference the dance of the second team and then shoot it with only Chris Pratt on film,\u201d he explains. \u201cI think it helped John and his crew to have them there,\u201d Trevorrow adds. \u201cIt\u2019s easier to generate the kind of emotion he gets into his images if we actually know what\u2019s going on.\u201d<\/p>\n

Nonetheless, seeing such characters roaming around the set acting like dinosaurs couldn\u2019t help but make for the occasional chuckle. \u201cHonestly, it kind of looked like some theater of the absurd,\u201d Fox admits. \u201cBut it was really<\/em> helpful.\u201d [The dancers were later replaced by MoCap performance-driven animation, shot on ILM\u2019s Motion Capture stage during post.] ILM also provided an on-set tool which allowed Schwartzman and his operators to hold an iPad up on set and see the dinosaur characters in place, while trying different lenses and lensing approaches, much like the commonly-used Artemis Director\u2019s Viewfinder. \u201cI would hold up the app, set the dinosaur in and show it to everybody,\u201d Alexander describes. \u201cIt\u2019s great for the [camera] operator, because he can see the environment and go, \u2018Oh, that animal\u2019s really tall, I\u2019d better tilt up.\u2019\u201d<\/p>\n

 <\/p>\n

\"Director<\/a>
Director Colin Trevorrow (L) discusses a scene with Pratt (middle) and Howard (R) on Kaui location<\/figcaption><\/figure>\n

Jurassic World\u2019s<\/em> camera team (and every other department)<\/strong> experienced what Trevorrow calls \u201cfaith-based filmmaking\u201d (shooting for characters that don\u2019t exist) for one particularly frightening scene, in which the escaped Pteranodons rain down an aerial attack on a crowd of 800 extras on the film\u2019s Main Street set, built at Six Flags.<\/p>\n

The point of view of the flying creatures was provided via a Spydercam system. The setup is programmable, so Trevorrow and Schwartzman worked with SpyderCam operator Todd \u201cHammer\u201d Semmes, who worked from a previs Schwartzman had made in Maya. \u201cIt wasn\u2019t just a simple glide,\u201d Fox recalls of the move, which required a series of runs to perfect. \u201cWe\u2019d have to pick a lens and make adjustments in speed, height or distance to certain objects. They\u2019d also give it nuances, to give character to the POV of the Pteranodon.\u201d Notes Schwartzman, \u201cYou can program stops and other moves, which is amazing,\u201d along with other movements, courtesy of a Libra head.<\/p>\n

Another complex shot within the sequence featured the Technocrane sweeping from individuals in the crowd, then to a plate image, after which the crane\u2019s base was moved, and the shot would continue sweeping to other crowd members \u2013 all of which would be assembled in editorial to make a single jaw-dropping master.<\/p>\n

Yet another section of the same action set piece involved a single 360-degree Steadicam move by Haarhoff, who is shooting a major stunt that actress Katie McGrath performed herself. McGrath\u2019s character, Zara, is running with the fleeing boys, but is picked up by a Pteranodon, fought over by another, and then dropped into a nearby lake.<\/p>\n

McGrath was hoisted 25 feet into the air by a pair of bungee cables, stealthily attached to her by stunt team members hidden in the crowd. \u201cWe precede them through the crowd,\u201d Haarhoff describes, \u201cand then we circle, to get their confused environment. As we wrap around them, in that moment and as we\u2019ve left her, she\u2019s getting hooked up. Then the stunt guys peel out of frame just as we come around and she\u2019s lifted up. It was a really creative way to do it, something Colin came up with.\u201d<\/p>\n

\u201cThere\u2019s something about the violence of the way that lady gets picked up and dropped into the water,\u201d Trevorrow concludes. \u201cThere are plenty of moments in this movie that are very scary involving CG dinosaurs. But I think the scariest moments are when you see something happen to a real person.\u201d<\/p>\n

\u00a0by Matt Hurwitz \/ Unit photos by Chuck Zlotnick \/ VFX images Courtesy of Universal Pictures<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

John Schwartzman, ASC, returns to paradise (run amok) with the fourth installment of Steven Spielberg\u2019s epic action franchise More than two decades ago, Steven Spielberg introduced filmgoers to living, breathing photo-realistic dinosaurs in his landmark roller-coaster action ride, Jurassic Park. Now, with Universal\u2019s fourth entry in the franchise, Jurassic World, director Colin Trevorrow and director of photography John Schwartzman, ASC, return to the idyllic Isla Nubar, with technology and moviemaking advances even Spielberg might not have foreseen in 1993. Two […]<\/p>\n","protected":false},"author":1,"featured_media":5268,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[37,370],"class_list":["post-5266","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-jurassic-world"],"acf":[],"yoast_head":"\nDino-Mite! - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dino-Mite! - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"John Schwartzman, ASC, returns to paradise (run amok) with the fourth installment of Steven Spielberg\u2019s epic action franchise More than two decades ago, Steven Spielberg introduced filmgoers to living, breathing photo-realistic dinosaurs in his landmark roller-coaster action ride, Jurassic Park. Now, with Universal\u2019s fourth entry in the franchise, Jurassic World, director Colin Trevorrow and director of photography John Schwartzman, ASC, return to the idyllic Isla Nubar, with technology and moviemaking advances even Spielberg might not have foreseen in 1993. Two […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2015-06-10T17:50:31+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-06-01T23:48:54+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1400\" \/>\n\t<meta property=\"og:image:height\" content=\"699\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"Dino-Mite!\",\"datePublished\":\"2015-06-10T17:50:31+00:00\",\"dateModified\":\"2021-06-01T23:48:54+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/\"},\"wordCount\":2792,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg\",\"keywords\":[\"ICG Magazine\",\"Jurassic World\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/\",\"name\":\"Dino-Mite! - ICG Magazine\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg\",\"datePublished\":\"2015-06-10T17:50:31+00:00\",\"dateModified\":\"2021-06-01T23:48:54+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg\",\"width\":1400,\"height\":699},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.icgmagazine.com\/web\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dino-Mite!\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"name\":\"ICG Magazine\",\"description\":\"Showcasing the members of the International Cinematographers Guild\",\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\",\"name\":\"ICG Magazine\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"width\":1294,\"height\":1080,\"caption\":\"ICG Magazine\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"http:\/\/www.facebook.com\/theicgmag\",\"https:\/\/x.com\/theicgmag\",\"http:\/\/www.instagram.com\/theicgmag\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\",\"name\":\"EDITOR\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"caption\":\"EDITOR\"},\"url\":\"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dino-Mite! - ICG Magazine","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/","og_locale":"en_US","og_type":"article","og_title":"Dino-Mite! - ICG Magazine","og_description":"John Schwartzman, ASC, returns to paradise (run amok) with the fourth installment of Steven Spielberg\u2019s epic action franchise More than two decades ago, Steven Spielberg introduced filmgoers to living, breathing photo-realistic dinosaurs in his landmark roller-coaster action ride, Jurassic Park. Now, with Universal\u2019s fourth entry in the franchise, Jurassic World, director Colin Trevorrow and director of photography John Schwartzman, ASC, return to the idyllic Isla Nubar, with technology and moviemaking advances even Spielberg might not have foreseen in 1993. Two […]","og_url":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/","og_site_name":"ICG Magazine","article_publisher":"http:\/\/www.facebook.com\/theicgmag","article_published_time":"2015-06-10T17:50:31+00:00","article_modified_time":"2021-06-01T23:48:54+00:00","og_image":[{"width":1400,"height":699,"url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg","type":"image\/jpeg"}],"author":"EDITOR","twitter_card":"summary_large_image","twitter_creator":"@theicgmag","twitter_site":"@theicgmag","twitter_misc":{"Written by":"EDITOR","Est. reading time":"14 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#article","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/"},"author":{"name":"EDITOR","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a"},"headline":"Dino-Mite!","datePublished":"2015-06-10T17:50:31+00:00","dateModified":"2021-06-01T23:48:54+00:00","mainEntityOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/"},"wordCount":2792,"publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg","keywords":["ICG Magazine","Jurassic World"],"articleSection":["Features"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/","url":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/","name":"Dino-Mite! - ICG Magazine","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg","datePublished":"2015-06-10T17:50:31+00:00","dateModified":"2021-06-01T23:48:54+00:00","breadcrumb":{"@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.icgmagazine.com\/web\/dino-mite\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#primaryimage","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2015\/06\/jurassicworldHEADER.jpg","width":1400,"height":699},{"@type":"BreadcrumbList","@id":"https:\/\/www.icgmagazine.com\/web\/dino-mite\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.icgmagazine.com\/web\/"},{"@type":"ListItem","position":2,"name":"Dino-Mite!"}]},{"@type":"WebSite","@id":"https:\/\/www.icgmagazine.com\/web\/#website","url":"https:\/\/www.icgmagazine.com\/web\/","name":"ICG Magazine","description":"Showcasing the members of the International Cinematographers Guild","publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.icgmagazine.com\/web\/#organization","name":"ICG Magazine","url":"https:\/\/www.icgmagazine.com\/web\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","width":1294,"height":1080,"caption":"ICG Magazine"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/"},"sameAs":["http:\/\/www.facebook.com\/theicgmag","https:\/\/x.com\/theicgmag","http:\/\/www.instagram.com\/theicgmag"]},{"@type":"Person","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a","name":"EDITOR","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","caption":"EDITOR"},"url":"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/"}]}},"_links":{"self":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/5266","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/comments?post=5266"}],"version-history":[{"count":1,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/5266\/revisions"}],"predecessor-version":[{"id":5274,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/5266\/revisions\/5274"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media\/5268"}],"wp:attachment":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media?parent=5266"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/categories?post=5266"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/tags?post=5266"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}