![]() ![]() But as Andrew also alluded to earlier, the artists are really the key component here. WEAVER It was incredibly instrumental for the machine learning process to have that repository of imagery, for sure. How much of that material did you use to teach the computer some of those more minute mannerisms? Obviously between the Indiana Jones movies and the Star Wars movies and everything he’s done, there’s a huge body of Harrison’s work on film. All of these other components are equally as useful, or in some shots, more useful.Īnd then you mentioned machine learning. WEAVER That one component, yes, but the technology was better and the artists have learned more. So that was based on techniques used on The Irishman? WHITEHURST we can shoot with multiple cameras at a performance, we can extract the 3D performance from that, and then we can use that to be mapped onto a different 3D face but maintaining that same performance. WEAVER There were times we would rely on key frame animation. It’s building it up, and it’s using a huge variety of techniques, but it’s all down to artists looking at stuff, talking to us, really getting their heads around what the character is, looking at the performance that Harrison gave that’s driving all of this underneath, and then working and polishing that to get to the finished result. ![]() And that meant we then got better notes back. So they were always cutting with an age-appropriate Indiana Jones, even if it was not a final quality, so that they could judge the performance in the cut and understand how that was working. We would initially do a low-resolution pass that we could give to the edit. And we had an enormous amount of reference material from earlier Indy films, which we got scanned, and we could use that and we could frame through that and understand what exactly the likeness was that we were trying to hit. WHITEHURST The one continuous element throughout all of this is having really great artists with really great eyes making those choices with Robert and me. So there were times that we were leaning more on the CG asset, and there were times that we would be getting a bit more out of the machine learning passes. This work doesn’t lend itself well to having a very consistent recipe it’s completely dynamic to the individual shot. It employed using machine learning it employed building a full CG asset to highly critical detail. ![]() ![]() And as Andrew was saying, we utilized every trick in the book as far as what it would take to get each individual shot to the level that it needed to be. In this case, it was the younger version. ROBERT WEAVER Face swap essentially is replacing the face with another face, whether it’s a younger version or somebody entirely different. How’d you do it?ĪNDREW WHITEHURST It’s called ILM Face Swap it’s using an enormous number of techniques. It goes without saying, a lot of attention has been placed on the young Harrison Ford, who appears during the movie’s opening scene. “He is so engaged, and he just wants everything to be as good as it can possibly be.” “The conversation never stops,” Whitehurst says of working with Mangold. The Hollywood Reporter spoke with production VFX supervisor Andrew Whitehurst and ILM VFX supervisor Robert Weaver about their work on the movie - the first in the franchise to be helmed by James Mangold ( Logan, Ford v Ferrari). Generative AI Is "Not To Replace The Human Aspect of Getting a Performance," Asserts Digital Domain CTO ![]()
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