not at your job once that was good
things were simpler than a lot of the
work we do in visual effects is kind of
very broad very strong like a you know
think about a monster screaming towards
camera this was the complete opposite
there was very subtle stuff so it's all
like in the kind of micro details of the
face
so the biggest challenge is that read
the emotional performance and in this
case since she was talking so she was
delivering lines don't you love me we
did free shots from the original movie
that was kind of like a proof of concept
that our original or there are digital
Rachel was good enough and and we showed
we showed it to Denis the director and
the studio and they couldn't really tell
the difference and then or you know they
had to struggle to see which one was
digital and that's kind of when we knew
that we had it in a bag and that there
are Rachel was good enough to to hold up
on a big screen
we had a Sean Young on set in Budapest
so we Tweety scanned her and got a lot
of photographic reference of her as well
and what that allowed us to do was to
fit a digital skull inside the digital
model we had of her when you age
obviously your soft tissue drops down
with gravity and you get wrinkles and so
on but your skull doesn't change so your
skull is pretty much the same and what
that allowed us to do was that we had a
digital skull and we we kind of built
our 23 year old Sean Young from 1982
around at digital scales so the
cheekbones the forehead the chin the
nose so on we could kind of fit it
around that digital skull which was
invaluable reference for us and that
kind of ensured that we had a physically
correct model - Sean Young's real skull
and we also captured performance double
death so it's her body that's used in
shots a girl called Lauren Peeta so we
had a lot of kind of 3d data to work
from and the good thing about the 3d
data is that we can you know rotate a
row around it a computer we can look at
it from all angles when it come down to
doing the actual performance it was all
hand animated because basically Denis
the director he wanted to base it direct
what we did like a normal performance
like he would do one set with a regular
actor
so we decided instead of doing the
CAPTCHA route we decided to kind of use
the capital data that we had as very
valuable reference but then all hand
animated so we basically created a lot
of shapes so basically all the things
that we needed a human face to do and
then the animators you know very
basically cannot dial it in to get like
the performance that the nee wanted at
the end of today we can make a still
image look very very photo real and good
but getting that believable animation
that's still the biggest challenge
