Netflix Commercial How The Irishman’s Groundbreaking VFX Took Anti-Aging To the Next Level 2025

VIDEO Netflix How The Irishman’s Groundbreaking VFX Took Anti-Aging To the Next Level TV commercial 2020 • Director Martin Scorsese and the visual effects team behind The Irishman discuss how the film made Robert De Niro, Al Pacino, and Joe Pesci look decades younger. Netflix is the world's leading streaming entertainment service with over 158 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments. 00:00 DELETE ME 00:00 It was like the army 00:01 you followed orders, 00:03 you did the right thing 00:05 you got rewarded. 00:09 The film takes places from 1949 to 2000 00:12 and it goes back and forth in time. 00:15 The problem is 00:16 by the time I was ready to make the film 00:18 Bob De Niro and Al Pacino and Pesci 00:20 could no longer play these characters younger in makeup. 00:23 I was shooting 'Silence' in Taiwan 00:25 and Pablo, of ILM, came up to me and said, 00:28 "I think I can make them look younger." 00:30 And I said, "I don't know. 00:31 I can't have the actors 00:32 talking to each other with golf balls on their faces. 00:35 It maybe gets in the way with the actors, 00:37 and the kind of film this is 00:38 they need to play off each other." 00:40 Would you like to be a part of this history? 00:43 So I just kind of took a breath and I said, 00:45 "You know, we'll develop the technology." 00:48 One thing that was very important was that 00:50 Marty would not feel restricted in any way. 00:53 We understood what the challenges would be, 00:55 meaning no markers or 00:57 facial headcams or things like that. 00:59 De Niro says to me, 01:00 "I just want to work on set 01:02 with the real lighting, with the other actors 01:04 who are going to ad lib a lot, 01:06 who are going to play a lot, 01:08 and I just don't want any interference 01:11 with the performances." 01:12 So we immediately divided into two groups: 01:15 One that was developing the camera system 01:18 and the other one that kept working on the software. 01:20 We developed this new rig 01:22 which is the camera 01:23 surrounded by two, what we call, 01:25 witness cameras 01:26 which are infrared cameras. 01:28 If you were to take a look at those infrared images, 01:31 what you would see is that there is no shadows. 01:33 With the complication of this technology 01:35 we had to test different rigs, different materials, cables. 01:39 It was called the three-headed monster. 01:40 It didn't look like a monster to me though 01:41 it was kind of nice. 01:43 The software is called Flux. 01:45 The 'F stands for 'facial' 01:46 and 'lux' is for the lighting component of it. 01:49 With Flux what we were trying to do is capture 01:51 the facial performance of the actors. 01:53 It's able to see how the face is shaded 01:56 and how the lighting is hitting it 01:57 and generate a lot of detail 01:59 to incorporate this into our 3D model. 02:02 We went through 02:03 an entire library of scenes 02:05 extracted from all of their past films 02:07 across a spectrum of ages 02:10 to try to distill 02:11 what their younger selves 02:13 looked like in this film. 02:15 It becomes a matter of taking 02:17 all of these different tools 02:18 in our pipeline and putting them together 02:20 and put them on their younger selves 02:22 to make really dramatic and amazing performances. 02:25 Everybody's gonna appreciate it. 02:26 It's a good thing. 02:27 I think I would want this to be 02:29 a referendum on technology.- advertisement spot 2020