![]() ![]() Screenwriter Rafael Jordan warns that needlessly bloated budgets are placing unrealistic expectations on sci-fi movies. Over-the-top action scenes aren’t just eye-rolling, they’re also expensive. “And when you make it evil robots from the future in sort of a superhero milieu, it just doesn’t work. “To my mind, the power of those movies comes from the juxtaposition of these creepy robots from the future set against this completely believable everyday reality,” he says. To receive the magazine, click here to subscribe.Geek’s Guide to the Galaxy host David Barr Kirtley agrees that the cargo plane sequence was silly, and stands in sharp contrast to the sense of realism captured in the franchise’s best installments, The Terminator and Terminator 2: Judgment Day. This stor appears in a January stand-alone issue of The Hollywood Reporter magazine. ![]() Says Barba, “We wanted to honor and build upon” what ILM did for T2. In all, the Dark Fate VFX team completed 1,900 shots but kept their focus on the franchise stories’ past when advancing both the story and the technology. It makes a big difference in what you ultimately get.” “It’s crucial when you are trying to re-target and animate to another face, you need those subframes to get all of the intricacies for the human face, so it doesn’t feel a little ‘Botox-y’ or that something’s not quite right. I’d never do something that puckered.’ ” With his guidance, they made subtle adjustments.īarba says they captured each actor’s facial performance using Sony’s Venice camera, shooting 4K at a high frame rate of 48 frames per second, which he considers the minimum resolution and frame rate that should be used for this purpose. “He said, ‘Looks great from the nose up, but the mouth shape was wrong. “When we were doing some additional photography, I showed some of the shots to Arnold,” says White. They also got some help from Schwarzenegger himself. Visual effects supervisor Jeff White of ILM adds that they used artificial intelligence tools to analyze the work in progress. “We constantly tested it against the older films.” “We change in subtle ways as we age,” Barba explains. Using lead VFX house Industrial Light & Magic’s Blink software, the artists then applied these nuanced performances to de-aged heads of the original actors. Then the team used a markerless facial capture system called Anyma, developed by Disney Research, to capture each actor’s performance. The digital work started with a scan of each original actor. For the flashback sequence in Dark Fate, the team did digital head replacement on younger actors who functioned as body doubles and were filmed on set. There are various approaches used to de-age actors in movies. “Ten years later, we are still pushing that envelope. “I look back at Benjamin Button and the tools that we had, and I don’t know how we got it that good,” Barba admits. But a decade later, it remains a complex task that continues to advance through technical innovation and artistic experience. Mackenzie Davis on 'Station Eleven,' 'Terminator: Dark Fate' and Furiosa DreamsĮric Barba, the film’s VFX supervisor, wasn’t new to the formidable challenges of de-aging work he won an Oscar for aging Brad Pitt in reverse in 2008’s groundbreaking The Curious Case of Benjamin Button. ![]()
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