We Put Voldemort in Other Movies

[Music] it didn't seem at all the sort of film where the actor completely changes and oh my god is it really him no no you meant to know it's me obviously easily labeled as vanity project for this actor and all that stuff so how did you end up getting the part you just have to hate harry potter [Laughter] [Music] in schindler's list i played armon gert who was the commandant of a nazi labor camp i mean and it was exciting because it felt like everyone is there because they love murder i would like so much to touch you in your loneliness what that what would that be like i wonder i remember definitely thinking of who do i know that are armon gert like it was in fact harvey weinstein who saved it i'd met wes a couple of times on the set he had been very abrasive and arguably abusive to people and that's one of the pleasures actually a lot of west's obsessions than mine i think of that we were twinned [Laughter] [Music] i know what you're thinking what on earth did i just watch well you know the new harry potter reunion special came out and we were talking about that we started talking about how like ray finds is in there and we thought it'd be really funny if what if like ray finds was voldemort in the special and then it just kind of got us thinking about like what if ray fines wasn't ray fines and was actually just voldemort gq has this whole series of videos where you know a celebrity breaks down their most iconic roles and you know they break down their career and i think their videos are great what if we take that gq video with refines recontextualize it the way we always do like our rated r things the epitome of evil also is an actor and has this dreams and goals yeah yeah his own evil dreams and goals so behind all of the humor and actually trying to create a final product this is a video that's gonna explore the sort of effects that hollywood uses to do face manipulation there's a lot that goes into that and it's a lot more complex and complicated than you might realize and in this video we're gonna explore all about that as we try to create that thing you just watched yeah so the next steps i i like the idea of basically limiting the scope of work to just using that gq video this is essentially just a parody of that type of format insert celebrity breaks down his career by also just using the footage that gq has uploaded it gives us a consistent thing to work with you know we have two camera angles one looking directly at them one looking kind of from the side like three quarter angles and then insert a few shots from some of the movies that he's been in i was thinking we can maybe limit it to like three movies obviously harry potter it's a biopic after all i mean i'm thinking grand budapest with a mustache on voldemort is so funny it's like too funny yes what else should we do so oh schindler's list schindler's list because voldemort wasn't evil enough for him a dark lord we're not yeah dark lord not yet ultimate evil right there so step one then let's get a cut together that is working and really funny matt while you edit the video let's go ahead and start looking into how the original voldemort effects were done kind of a little bit of a historical deep dive into that and maybe we'll get some inspiration on how they did it maybe we can incorporate some of that into our own workflow there's the whole concept of you have a nose and you cannot remove that with makeup it's an additive process but visual effects you can remove stuff it can be a subtractive process so let's take a look at some voldemort scenes here of course one of the best scenes in the entire movie series is the fight between dumbledore and volley dude look at this shot like right here this isn't just a close-up it's extreme with an x they named games after this [Music] and do we know in this one exactly what they replaced because obviously you can see like the poor detail it's hard to determine what is a different texture versus what is just simply out of focus they basically added a bunch of makeup to ray finds here to make him look more sickly including a bunch of like temporary tattoos for the veins and of course white makeup to make them very pale but the nose there's obviously no nose they had to replace it and the general pipeline here is pretty complex because first off it involves 3d tracking the head so that you can actually know how his head is going to be moving through 3d space they had a track and an actual 3d model of this sort of flattened nose with the slits and whatnot and the poor texture detail around all of it and they had to pretty much do it for his entire face they did that so that they can pick and choose when to just replace his nose versus having to replace his entire cheek why would you have to replace the entire cheek as well those pesky nose shadows nose shadows you hate them you hate them i mean look at this right here there's a very strong light coming from the frame right if he had a full nose there there'd be a very triangular shadow lying on the right of his cheek but notice there's no shadow there and that's one of those things that makes this a little bit more challenging than might be intuitive because there's a lot more work that has to go into this so for a shot like this for instance where it is an extreme close-up i'm willing to bet both cheeks all the way down to his lip and his eyebrows i'm willing to bet everything right here except for immediately around his eyes is completely replaced with a cg model it's tracked to his head but also to his face the pores stretch and yeah and the benefit of those points all over the face is you have different levels of depth from the camera so when the face is moving you're getting an understanding in 3d space of where all these points are in relation to each other so you can solve for that and you can figure out oh this point must be further back in space than this point this is the three dimensionality that we look for when removing noses so that's essentially their workflow is it a lot of work absolutely especially with the sheer number of shots that they had to do for every movie okay so as far as the actual workflow pipeline here we've got three different types of effects we're trying to do some of these might be just 2d effects like if he's not really moving much we can get away with just photoshopping the nose and then tracking it that's a great 2d effect you won't really notice but once he starts moving around a little too much we might get some lighting changes some shadows that might be happening that's when we might need to start getting into a little bit more 3d territory jordan i know you started looking into doing some head tracking object tracking type pipelines where where are you at with that i'm looking into it uh no i mean we've got the option in c40 we can do it with the object tracking in there let's make that your goal sweet my goal for the week is to get a deep fake going of voldemort here and we'll talk about that more here in a moment you know we've obviously done a lot of deep fakes in the past you know everything from luke skywalker tom cruise keanu reeves but i've always kind of been a supporting role in those projects so i know a lot about deep fix but not too much about the actual explicit process and so i'm hoping to get niko's help and actually do a whole deep fake beginning to end how do you do them they're pretty simple actually deface lab is the app that i've been using and really what it comes down to is you need pictures of faces specifically of the person's face you're going to be putting the d-pig on and the face that you're training for the deep fake you're going to need about 5 000 pictures of each and they need to be high-res they need to be clear and ideally from all different angles all different expressions and all different lighting conditions the more variety and data you can give the computer the more variety and data you will be able to represent with your deep fake and other than that you need a bunch of vram so you need a nice gpu like a 30 90 and you need time that's it i've already started the process of collecting all of the voldemort faces from the entire movie pretty much every single time voldemort's on screen i'm going to be using that as far as like the actual images of ray fines i'm going to train it on the entirety of that interview but i also am going to try to pull from various other interviews with ray finds in there you know this one's a bit of an interesting sort of twist on deep fakes because you're used to seeing like someone's normal looking face being put on someone else's normal looking face but voldemort is anything but normal he's missing a nose how is the deep fake gonna handle that committing to the deep fake for all of the interview footage introduces a slight problem in that we're probably gonna have to spend pretty much the entirety of the next two to three days just developing the model before we could even really begin doing the deep fakes so i'm worried we might not even really begin to start working on all of the interview footage until thursday or friday it's very up in the air right now as to whether or not the deep fake is gonna work with the protruding nose i say we should do some of the shots in like lockdown from the interview because we can compare them to the deep fake stuff and see if it's like if it actually makes sense to do the deep fake you know if the d-pick actually looks better or even comparable there's a level of control that we can get with lockdown in 2d and after effects that we can't really get with the deep fake all right three two one no no what's up dean what's up nick hey you look really chill dude yeah i was just taking a load off trying to get some weight off my foot you know i actually uh strained my ankle and uh had to put it in a boot sometimes feet need splints but sometimes our brain needs a splint that's why i want to tell you 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big difference in my life and i think there's a lot of people out there right now who could benefit from it is that is that baltimore okay so so what is lockdown we keep throwing this word around lockdown what it is is it's a plug-in for after effects or fusion that allows us to do something pretty cool with the 2d track you designate points around your object it could be anything but for our purposes we're using faces and it creates a mesh from those points and then within that mesh it tracks your movement in the scene and then it creates a precomp of your footage that is a stabilized version of whatever you're tracking within the mesh anything you want to put within this mesh it will stay locked down to this footage right so once you go into your main comp you can see that it's following his face as he's moving and it's also distorting and warping around his face in 2d to match the shadows i have several shadow and light layers around our voldemort nose here to match the color values and black levels of the opposite side of his face where the light isn't hitting in our final we have a much more convincing shadow on his right side here and it's a lot easier to do because it's locked down the shadow as well tracks realistically to his face it all just sticks i could give him some face tats sick face tats oh look at this post maloney always tired tired always look so i mean you can do so much with this it's really just the limitation is uh your imagination in terms of what you want to put on this man's face honestly some of these lockdown shots that you've done already look incredible and at the very least deliver the point and that's all we're trying to do at the end of the day is just like it's it's this is a joke this is a stupid little parody joke video that is hopefully gonna make some people go that's about the best we could ever hope for so while matt is busy uh working away in lockdown we do have a couple special shots that need a little bit more and that's because we have some three-dimensional movement from wraith there's really no way around that in 2d so we have to now enter into the 3d world and that's where i come in there's one shot in particular that is the biggest issue and that is the shot from schindler's list where he literally turns around to reveal himself and that's got a really strong side light that's casting a lot of sharp shadows based on his nose and just his facial geometry what i came down to as far as execution is a two-pronged assault the first was to track the head considering we're using pretty compressed black and white footage there's not a great way to do that especially when he turns all the way around so i decided forget it i'm just going to do it manually over the course of 20-25 minutes i just manually keyframed a geometry of a 3d model of voldemort that we downloaded once i got it aligned to the shape of rave space which is very easy because of course he is voldemort so you know you download a voldemort model and it's going to fit rave space then it's just a grindy affair of going five frames at a time lining it up approximately then cutting those in half going two frames at a time and just until you feel like it's in a good spot the end result is kind of haunting but it gets the job done again the main reason that we needed to use 3d was for these no shadows right so once the head was tracked it just came down to matching the lighting and texturing the head we then bounce it out and send it over to compositing i actually used two approaches in compositing i used the 3d model that we exported and i also used lockdown as well and what i did is i used the 3d model up until the point where he was facing camera and then i blended it into a lockdown track so that i have a really nice 2d solve for when he's facing the camera and i also get those really nice crisp harsh shadows that change as the nose rotates away from the light it's a pretty simple approach but the difference in having those shadows versus not having those shadows makes a huge difference and even though it only lasts about 12 to 14 frames it helps solidify the comp much more so than if we just did it all in 2d about a mile off i'm very excited it's going well though um yeah no the defects are looking very very promising we're right in the final stages of like merging all the final shots together so i'm gonna go see what that looks like but i'm pretty optimistic yeah we're excited can you tell all right so deep face there are a few interesting things i learned so once i kind of went through all that stuff with nico i had to do all the grunt work of actually assembling and collecting all of the face sets of voldemort here and then also all of the face sets of ray fines from the interview so that we can train a computer to create voldemort from scratch but also to create refines from scratch and then to take those creations and make them kiss [Music] and that's what we commonly know as deep fakes so i was going through all these movies and i got to the fifth one here and i noticed something interesting i'm just going to go ahead and show you the shot as it plays out in the movie he starts smiling right there at the end he's like oh it's just harry potter ah my scar hurts oh and then dumbledore shows up out of the fire oh no so he goes from smiling voldemort to er oh god his true enemy just showed up but here's the thing did that shot look familiar to you because it looked familiar to me hear those shots side by side and back in that's right it's the exact same shot it's not like some different take it's literally the exact same footage has been taken out reversed and put in a different spot of the edit just like five seconds later the vfx are different between the two shots look at this here is the shot the first one and then i go to the next frame [Music] look at that they're different voldemort's nose changes look at him in this first shot and then the second shot and then also the background changes look at this it's a whole separate background the ground is different that highlight just completely disappears these things get brighter whatever they are not that big of a deal i just find this very interesting because that means that these were two completely separate visual effects shots that were treated as such a deep fake is not enough you still got to be a good compositor to make it work and one of the things we discovered is that voldemort never blinks the deep fake training doesn't know what voldemort looks like with his eyes closed so every time ray finds in the interview blinks voldemort's eyes just kind of like twitch and so what we ended up doing was going through and just for the times where he blinks we're masking back in his original eyelids over the top of the deep fake and because blinks are so fast it actually works like it's kind of hard to tell so you end up with like sort of the smorgasbord of lockdown shots some cinema 4d shots and deep fake and some just regular old-school masking to pull off this final effect it's not as simple as just oh i made a deep fake or it's not as simple as just like oh i just did some photoshop it's like it's all of it combined working in parallel to deliver a final shot and that's why i like this video a lot i'm very excited about it but now it is time to show everyone else because i think it's really funny and i want to see what their reactions are going to be just remember that voldemort is a real person with real feelings [Music] it didn't seem at all a sort of film where the actor completely changes and oh my god is it really him no no you meant to know obviously easily labeled as vanity projects honestly you just have to hate harry potter in schindler's list i played armon gert who was the commandant of a nazi labor camp i mean and it was exciting because it felt like everyone is there because they love murder i would like so much to touch you in your learning it was in fact harvey weinstein who saved it and that was a couple of times on the set he'd been very abrasive and arguably abusive to people and that's one of the pleasures actually a lot of western's obsessions than mine i think that we were twinned [Laughter] and that's it that was uh the villain quarterly video on voldemort's iconic career that's really funny they all feel like they're the same thing it's really cohesive it's really nice the deep fake turned out really good you guys did a great job compositing it which is such an important step in the process and truth be told though i'm really impressed with how well all just the 2d effects stack up like you just get a good looking frame photoshop style and it just works for the rest of the video all right now that we have established villains quarterly i think we should take a look at some other villains leave a comment down below with some suggestions and you know maybe the next issue will feature that villain what if you turned gollum back into andy's yes then josh brolin thanos mcdaniel's a real guy so yeah anyway leave a comment down below with your suggestions we'll read them and thanks for watching no wait and subscribe hit that dinga ding

Channel: Corridor Crew

Views: 653,822

Keywords: vfx, harry potter, react, GQ, celebrity, breaks down, ralph feinnes, voldemort, special effects, making of, behind the scenes, cgi, cinema 4d, visual effects, new, harry potter reunion, characters

Id: PtC4f8gcf74

Length: 20min 1sec (1201 seconds)

Published: Sun Jan 23 2022