The advents in CGI would allow the dinosaurs to appear three-dimensionally, work out their muscle structure, and how they would move.
Hurricane Iniki, which jeopardized production during location shoots in Kauai, had winds of up to 130mph.
When filming the kitchen scene, which was filled with reflective surfaces, Dean Cundey had to plan the illumination while using black cloths to hide the light reflections.
Shooting Grant rescuing Tim out of the tree involved a 50-foot prop with hydraulic wheels.
Animations for the computers in the labs and control room were lent from Silicon Graphics and Apple.
Compositing dinosaurs onto live action scenes took up to an hour. Rendering them took from two to four hours per frame, but the T-Rex in the rain took up to six hours.
Steven Spielberg remained in contact with ILM while he was in Poland filming Schindler's List (1993) through teleconferences four times a week. He described the extra workload as "a bipolar experience, with every ounce of intuition on Schindler's List, and every ounce of craft on Jurassic Park". He rented two satellite channels through a Polish television station (for $1.5 million a week) and kept them open at all times, and downloaded from Hollywood each day the visuals on one and the sound through the other. He then spent evenings and weekends working on them with video equipment.
Steven Spielberg left the editing for two weeks to start shooting Schindler's List (1993) in Poland.
After the twin hits of Jurassic Park and Schindler's List (1993), Steven Spielberg took a rare sabbatical. It would be four years before he returned to the director's chair with The Lost World: Jurassic Park (1997).
The ripples in the glass of water caused by the T. Rex's footsteps was inspired by Steven Spielberg listening to Earth, Wind and Fire in his car, and the vibrations the bass rhythm caused. Michael Lantieri was unsure of how to create the shot until the night before filming, when he put a glass of water on a guitar he was playing, which achieved the concentric circles in the water Spielberg wanted. The next morning, guitar strings were put inside the car and a man on the floor plucked the strings to achieve the effect.|