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The facial capture of Peta and Young was done on a Saturday in Budapest, where the film was shot. She was directed by Denis Villeneuve with Young on set for reference. Body double Loren Peta played the young Rachael (in costume, makeup, and with dotted face) and performed on set for the two-minute sequence with Ford (reprising Deckard) and Jared Leto (as replicant manufacturer Wallace). MPC was part of the Oscar-winning VFX team responsible for the impressive de-aging of Young. Better still was Luke’s appearance in “The Book of Boba Fett,” where deepfake played a much larger role. Lola handled the de-aging with a deepfake used for reference only. This featured the brief participation of Hamill, who was shot on set in alternating scenes with a double before stepping into a special lighting rig called “The Egg” for facial lighting adjustments. There was slight improvement, however, with the cameo of a de-aged Luke at the end of “The Mandalorian” Season 2. ILM tried the procedure again in 2019 with Mark Hamill and Fisher for “The Rise of Skywalker,” but the results still weren’t impressive. But it was a useful exercise in testing ILM’s evolving facial capture system and animation rig. The tech wasn’t there yet to create younger versions of the characters with only old footage and mo-capped doubles. ILM’s controversial de-aging of the late Cushing (Grand Moff Tarkin) and Fisher (Princess Leia) in “Rogue One” without the participation of the actors proved problematic.

The result was artificial, but then so was Clu 2.0, who wasn’t human anyway. His physiology was different and you couldn’t hide the fact that it was older Bridges uncomfortably fitting into his younger self.

Although the capturing process and facial animation improved, there was no getting around the problem of trying to recapture Bridges in his prime, even if he was driving the performance. But de-aging the 60-year-old actor 25 years was much harder than reverse-aging Pitt. This included improving the workflow, management system, pipeline, and animation. “Tron: Legacy” (2010)ĭD raised its game for performance capturing Bridges as the younger Clu 2.0 avatar in Joseph Kosinki’s sequel.

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In addition, for the de-aging sequences between Pitt and Cate Blanchett, Lola FX (which introduced the process in “X-Men: The Last Stand” with an opening flashback featuring a de-aged Patrick Stewart and Ian McKellan as Professor X and Magneto) refined its Photoshop-like 2D/3D technique involving skin smoothing and shape warping with improved animation, tracking, and compositing. Some of the hurdles were making the animation believable, and tracking and creating a lighting and compositing system so that the heads could be dropped into Claudio Miranda’s cinematography. Mova’s Contour multi-camera, high-resolution facial capture system was a key component in this part of the process. This could be driven by either keyframe animation or image analysis because they were built from Pitt’s own faces.

Utilizing the studio’s volumetric deformation rig, the animators used micro-expressions to manipulate individual movements.

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“The Curious Case of Benjamin Button” (2008)Īfter years of R&D, Digital Domain cracked the code of aging Pitt’s face with different body actors. Sean Young’s “Blade Runner 2049” cameo, created using VFX Warner Bros.Īs a prelude to our coverage of ILM’s “Dial of Destiny” de-aging, here’s a recap of how far we’ve come in the last 15 years. Jackson in “Captain Marvel,” Peter Cushing and Carrie Fisher in “Rogue One: A Star War’s Story,” Sean Young in “Blade Runner 2049,” Will Smith in “Gemini Man,” and Robert De Niro, Al Pacino, and Joe Pesci in “The Irishman.” This included Patrick Stewart in “X-Men Origins: Wolverine,” Arnold Schwarzenegger in “Terminator Salvation,” Jeff Bridges in “Tron: Legacy,” Michael Douglas in “Ant-Man,” Kurt Russell in “Guardians of the Galaxy Vol. With David Fincher’s “Benjamin Button,” digital technology caught up with need, and its success spawned a wave of de-aging that fought off the Uncanny Valley with varying degrees of success. While “Benjamin Button” won the VFX Oscar for its trailblazing reverse-aging of Brad Pitt, Harrison Ford’s Indy finale (which premiered this week at the Cannes Film Festival ahead of its June 30 theatrical opening) is already being talked up as an Oscar contender for its breakthrough AI-generated de-aging, making the actor look 35 years younger fighting Nazis in the 25-minute opening flashback. De-aging has come a long way, from “The Curious Case of Benjamin Button” to “Indiana Jones and the Dial of Destiny” in the last 15 years.

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