The next morning, you arrive early on set to coordinate the effects team. Bryce is already stretching, preparing for a high-speed sequence where she must leap from the top of a jeep to avoid a stampeding herd of gallimimus. You check the monitors; the CGI adjustments from the previous day look seamless, but subtle flaws remain. The software struggles to keep her proportions natural when she’s in extreme motion.

Bryce notices you scrutinizing the footage. “Don’t worry,” she says, grinning. “I’m a professional. If anyone can run like this and look natural, it’s me.” She flexes lightly, her stance commanding yet playful. “Though, if you make me smaller again digitally, I might haunt your editing room at night.”

You laugh, appreciating her humor. “You might be haunted by a T. rex instead,” you reply. She rolls her eyes, smiling.

Throughout the day, multiple takes are shot from different angles: overhead drones capturing her sprinting across uneven terrain, side cameras following her climb onto a moving vehicle, and long lenses capturing her expressive reactions as dinosaurs roar behind her. The CGI team is meticulous. Every frame showing Bryce’s chest or hips must be digitally softened or minimized to maintain continuity without affecting realism.

Bryce chats with the assistant director while adjusting her earpiece. “Honestly, it’s weird seeing myself run and jump, knowing half of me will be changed digitally. But it’s fine; it’s about the story, right?”

“Exactly,” you answer. “Your energy, timing, and expression keep the audience invested. The CGI just helps them focus on the scene’s stakes instead of, you know… distraction factors.”

On one shot, a velociraptor lunges as Bryce slides under a barrier. You pause the playback. “There’s a small clipping issue here—your arm looks a little too long.” She laughs. “I always wanted to be a bit more stretchy. Just don’t make me look like Elastigirl.” The crew chuckles.

During a break, Bryce sits near the lagoon, sipping water. “You know,” she begins, “CGI might shrink my proportions, but it can’t shrink my enthusiasm. That’s all me. I hope it comes through on screen.”

The stunt coordinator runs through the next sequence: Bryce must jump from one moving jeep to another while keeping balance, avoiding motion sensors, and reacting to projected dinosaur silhouettes. The team notes camera angles, CGI markers, and wire harness placements. Bryce tests her jump lightly. “Feels like I’m auditioning for a circus,” she jokes.

Later, reviewing dailies, you notice the digital adjustments are smoother than before, yet more subtle tweaks are required for her motion through dense jungle foliage. “We need to track the shadows and reflections better,” you instruct. Bryce peers over your shoulder. “I trust you. As long as I still feel like me in the frame, I don’t care if you tweak every pixel.”

By late afternoon, filming a climactic scene near the lagoon, Bryce must interact with a massive animatronic Indominus Rex. The scene requires careful choreography to avoid contact while maintaining tension. “I feel like I’m dancing with a dinosaur,” she quips, crouching low for a take.

As the day winds down, the editors and CGI team continue adjusting frames, ensuring Bryce’s character remains consistent while integrating her physical digital changes. She relaxes on a folding chair, sipping water. “I might look smaller on screen,” she says softly, “but my performance has to feel bigger than life. That’s the magic of movies.”

The final shot of the day shows Bryce perched atop a moving jeep, wind in her hair, eyes fixed on a pursuing raptor. You nod approvingly. The CGI team ensures every frame balances natural movement, shadowing, and proportion. Bryce smiles. “Even digital, I feel unstoppable.”