Netflix Commercial How The Irishman’s Groundbreaking VFX Took Anti-Aging To the Next Level spot commercial 2024
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.
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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
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