![]() ![]() Westenhofer: Junior is a very brooding, serious character. Was it difficult to get Will Smith’s likeness just right? It doesn’t mean that it was totally perfect, but it meant that we could take that turn down the street to Junior. We then built the 50-year-old model of Will and got that to the point where we’re comfortable with it and ready to start on the young one. We gathered the absolute maximum amount of visual resources we could on Will. We did Clear Angle scans to get high-resolution models of him twice over the course of the shoot. We photographed him three separate times over the course of the shoot. So, in this case, we start with 50-year-old Will Smith. There’s no photo turntable of Will Smith from 30 years ago to work off of. As much as we did digital effects 30 years ago, we didn’t do the same kind as we do today. We just didn’t have access to Will 30 years ago. I don’t mean that we didn’t have access to Will. Williams: Therein lies the hardest part, right? One of the single biggest challenges we had on this show was that we didn’t have access to the person we were creating. He’s a person - and a very famous person, too. Junior is a little different from digital characters like Gollum or Thanos because he’s not a fantasy creature. We were asking ourselves, ‘Why is this happening? What’s wrong?’ “ You couldn’t do it with makeup, so we had to have something that was digital just for that reason alone. In Gemini Man, we’re seeing pores and things like that. Jackson to be on set with a costume, and they put on as much makeup as they can. The Marvel de-aging technique required Samuel L. … The other thing: The high frame rate and the high resolution. Westenhofer: Well, we had to because we had scenes where Henry and Junior are fighting each other. Can you talk a little bit about the differences between the process used in films like Captain Marvel and what you did for Gemini Man, and why you chose your approach? ![]() Just to be clear, this isn’t digital de-aging, like what you see in the Marvel movies. Image used with permission by copyright holder To that end, you have to have a good actor, and lo and behold, we get Will Smith in the role. Your mo-cap is just as important as your principle day on set. Something we said at the beginning was that you can’t treat your mo-cap (motion capture) like it’s a scientific step. Williams: One of the other things we said is that our digital human will only ever be as good as the performance that the actor gives. We just have to have time to make those mistakes and repair them before we get to the end. We thought the technology could get there by the end and that we could pull it off, and then it was just the raw determination, and knowing we’re going to make mistakes along the way. You have Ang Lee, who’s going to do it right going to be committed to doing it right. Guy Williams: As much as we believed in the technology and we believed in our ability to do it, the other thing that really clicked into place was the film itself and the people behind the film. You can look at a picture and say it looks wrong, but you’ll be lost to figure out what’s off.Ĭan you talk a little bit about what the rest of the Gemini Man team brought to the process? Without really letting the computers have the whole model of the skin and the face and the melanin and the textures, you’re not going to get there. ![]() I think what was awesome about Weta is that they really delved into the science of it all. Then, it was just analyzing the things that got close enough and pushing it the rest of the way there. What changed?īill Westenhofer: There’s no single thing that suddenly said, “Boom, you can make a digital human now!” It’s been a lot of incremental steps to the point where we were at with Rogue One and Blade Runner. How Dune’s visual effects made an unfilmable epic possibleĭigital Trends spoke to Williams and Gemini Man visual effects supervisor Bill Westenhofer about the challenges of bringing Junior to life, as well as what it took to resurrect one of the most famous young faces in Hollywood history.ĭigital Trends: Various studios have been trying to make Gemini Man since 1997, when Tony Scott was signed on to direct and actors like Harrison Ford were being eyed to star, but over the years, nobody could get the effects right. How VFX powered Spider-Man: No Way Home’s villain team-up How visual effects made Manhattan a war zone in HBO’s DMZ ![]()
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