De-aged versions of Linda Hamilton, Arnold Schwarzenegger and Edward Furlong appear in the film thanks to VFX experts
's Linda Hamilton, Edward Furlong and Arnold Schwarzenegger., directed by Tim Miller — the latest installment in the Paramount series — viewers reconnect with Sarah Connor , John Connor and the T-800 in a flashback set a few years after the events in 1991'sEric 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 team did digital head replacement on younger actors who functioned as body doubles and were filmed on set. The digital work started with a scan of each original actor. Then the team used a markerless facial capture system called Anyma, developed by Disney Research, to capture each actor's performance.
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. "We change in subtle ways as we age," Barba explains. "We constantly tested it against the older films." Visual effects supervisor Jeff White of ILM adds that they used artificial intelligence tools to analyze the work in progress. They also got some help from Schwarzenegger himself. "When we were doing some additional photography, I showed some of the [digital head] shots to Arnold," says White. "He said, 'Looks great from the nose up, but the mouth shape was wrong. I'd never do something that puckered.' " With his guidance, they made subtle adjustments.
Barba 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. "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.
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