For Blue's animation, the animators referenced the character's performance and personality from Jurassic World (2015) and worked on strengthening the relationship between Blue and Owen. In a flashback, we see Owen training baby Blue, and we see tender moments in the movie between Owen and the adult Blue, who has been living a feral life since the last movie, CGI Supervisor Jance Rubinchik explained; "We have Blue nervously approach Owen," Rubinchik says. "We dial back the aggression, and have tender, quiet moments when he pets her. She lets her guard down. Owen strokes the top of her nose, the top of her head, and we feel that connection." For close-up scenes with Blue when she is nearly still, such as the operating table scenes, the filmmakers had a full-scale animatronic on-set that puppeteers could perform. Even so, the animators played a part. "We augmented her (in post-production) to add a complexity of motion," Rubinchik says. "Heavy breathing, muscle firing, the motion in her throat accompanying guttural sounds. Those things are difficult for animatronics. So, she is a hybrid. You can't tell where the animatronic begins and the CG Blue starts." Industrial Light & Magic artists would track a CG Blue's head to match the animatronic, and then augment her nostrils, eyes, and around her lips. In doing so, they preserved the on-set interaction between the animatronic and the actor, while enhancing the performance using CGI "make-up" performed by animators. Modellers creating the animatronic and the CGI model worked from the same data set to make the enhancements and transitions seamless. "The contact is 100 percent real", Rubinchik says. "And the eye lines are accurate. But, the CGI augmentation makes performance more believable." Whenever Blue moves around though, she's CGI. For the training sequence in Jurassic World (2015), Industrial Light & Magic animators wearing motion-capture suits performed as Blue to give Chris Pratt a character with whom to work on-set, and to provide data and reference for the animators later. For this movie, the animators relied more on keyframe animation. Going into the movie, I had a chat with Glen (Glen McIntosh), Alex (Alex Wuttke, Visual Effects Supervisor at Industrial Light & Magic's London studio), and David (David Vickery) about using motion-capture and we did some tests," Rubinchik says. "But I felt that although motion-capture was great as a starting point and to block in performances, it couldn't get us where we wanted to go for this movie. Old-fashioned key framing was the best approach. I supervised some motion-capture that was almost like previs to get something in front of J.A. (J.A. Bayona), so he could see how the action flowed, and we used a bit as reference. But, it's hard to get a human to do the things these large animals need to do because the anatomy is so different. So, we relied on the animation done historically for the franchise as reference. We have really talented animators here." In addition to referencing dinosaur movement from previous movies, because there were animatronics on set, the animators needed to make sure their CG Blue moved in a way that would tie into the puppeteered performances. "It was great to see how the full-scale animatronics moved on-set, and how fast," Rubinchik says. "And, the animatronic informed our animation to a certain extent. We would make sure that what we were doing with the CGI versions would tie into that."

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