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Ultimately all of the leopard shots utilize VFX, mostly full CG shots, and some enhancements to a puppet on a few close-ups. All safety measures were taken to accommodate working with an apex predator, but getting a leopard to simulate an attack on or drag a human being with a level of ferocity and believability necessary was a bridge too far. They trained him to do certain tasks, growling on cue, or dragging large objects, but on the day, a big cat in an environment with film crew has its own limitations. We did use a real cat and trainers that were brought to set. I have worked with lions and tigers before, but I’d never worked with a leopard.

“The leopard and the elephant had significant CGI contributions.

Creating CGI animals that were believable for audiences proved to be a daunting task. Principal photography took place throughout South Africa and Kenya for Spencer Dutton’s storyline. The schedule really was our biggest challenge,” Blank notes.

And hopefully when we went with VFX, either through use of CG or compositing real animals from separate shoots, you can’t tell the difference.

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Blank’s initial conversations with Richardson regarding visual effects largely revolved around animals and how to achieve those sequences.