The Indoraptor, animatronic head, claws, and hands performed by puppeteers on-set gave the cinematographer, camera operators, actors, and actresses something real to work with, and the animators and lighting artists something to match. But in the movie, Indoraptor is real 99 percent of the time. The creature is a hybrid based in part on Blue's DNA, but three times larger than Blue. The visual effects crew never had to match a full-sized practical dinosaur. "Indoraptor is more of a character than dinosaurs we'd done previously," Jance Rubinchik says. "His arms are more human, and he uses them more than the other dinosaurs. The other dinosaurs will try to open doors, but he is far more adept at using his claws and hands to get what he needs, and he moves between quadruped and biped, which is unique. It was an interesting challenge to see how human we could make him, and still have Indoraptor feel like an animal, like a dinosaur." In one dramatic sequence, Blue and Indoraptor fight in Maisie's bedroom, a fight designed at Industrial Light & Magic and keyframed by the animators, and one that was particularly fun for the animators. "They're clawing, biting, scratching each other," Rubinchik says. "We had to keep the weight there and they're in a small space with the kid's toys getting smashed around. We didn't have any real previs for the sequence, so we designed the fight here in London and placed the props that the effects team will throw around. It was the trickiest sequence, but, it was a lot of fun. We all know that little kids play with dinosaur toys in their bedrooms. So now we're seeing real dinosaurs going after each other and trashing a kid's bedroom." In addition to the overall choreography, animators working on Indoraptor created detailed movements specific to his character. "He's mentally broken, devoid of empathy and compassion," Rubinchik says. "He's just a killing machine. We wanted to express that in the way he moves. He's very twitchy. We drove that in animation with controls that would inform the creature development team. They would use what we were driving with those specialized controls to drive their simulations." The animators also had specialized controls to move the neck in a way that preserved the angle and slope they needed. "When he's a quadruped, he really had to crane his neck up, and the hard shells down his back had to slide over one another," Rubinchik says. "We needed to control that line, how the angle at the top of his head would play, and how the movement worked as it entered his collarbone and torso."

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