And the result? Big in scale...and scales! This is a bit wacky, but these are images from two different magazines; Total Film and Vanity Fair. Why? Because imagery from global publicity shoots are distributed to magazines all over the world! So we have to shoot A LOT of different kinds of images on a lot of different backdrops so that magazines in every territory around the globe have unique photography! Simple! For the Total Film cover, the talent was shot as a group on white and the back drop and Atrociraptor were added in post by the diligent, talented and patient @wetnoodlesinc. The main light on the talent was two unbaffled octobanks thru a 12x silk the same light we used on the pongee backdrop for the Vanity Fair triple. The light on the background plate of the gold Schmidli was the gridded strip over the camera with the large Profoto umbrella directly behind me, but somehow it works! The dino came from the geniuses at ILM. We sent them all of this BTS and diagrammed the light so that they could “light” the dinosaur to match our light. TREX-sized thank yous to the folks at ILM who brought the Atrociraptor to life: Graeme Puttock, Lee Briggs, Chris Hawkinson, David Vickery, Greg Busby and Jeanie King. Production by Emily Roth with @brockel and Joaquin Post. Amber coated thank yous to @newellt24 and @mel_miko at Universal. Thank you, thank you, thank you to @prattprattpratt @lauradern @brycedhoward @dewandawise @samneilltheprop @jeffgoldblum #mamoudouathie for being such great subjects and @colin.trevorrow for his trust and support. @ilmvfx @schmidlibackdrops @jurassicworld @totalfilm @vanityfair @universalpictures @luvlouella @candacegelmanassociates @seareps And yes, there’s one more set we’ve yet to reveal...but hoping to share that later this week!