546:, who were seeking to restrict the use of digital clones of Astaire. Movie studios opposed the legislation, and as of 2002 it had yet to be finalized and enacted. Several companies, including Virtual Celebrity Productions, have purchased the rights to create and use digital clones of various dead celebrities, such as
507:
The use of digital clones in movie industry, to replicate the acting performances of a cloned person, represents a controversial aspect of these implications, as it may cause real actors to land in fewer roles, and put them in disadvantage at contract negotiations, since a clone could always be used
494:
expressed worry about the loss of "the very thing that art was supposedly preserving: our point of contact with the irreplaceable, finite person". Even more problematic are the issues of copyright and personality rights. Actors have little legal control over a digital clone of themselves. In the
499:
would strengthen such laws). An actor does not own the copyright on his or her digital clones, unless they were created by her or him. Robert
Patrick, for example, would not have any legal control over the liquid metal digital clone of himself that was created for
346:
in 1994, had been digitally superimposed over the top of a body-double in order to complete those parts of the movie that had yet to be filmed. By 2001, three-dimensional computer-generated realistic humans had been used in
524:
440:
was added using archival voice footage of her saying the word "hope". Cushing had died in 1994, while Fisher was not available to play Leia during production and died a few days after the film's release.
71:, wherein models had their bodies scanned digitally to create 3D computer generated images of the models, and then animating said images for use in TV commercials. Two 1992 books used this concept:
278:). In the same year, Mike the Talking Head, an animated head whose facial expression and head posture were controlled in real time by a puppeteer using a custom-built controller, was developed by
496:
667:
508:
by the producers at potentially lower costs. It is also a career difficulty, since a clone could be used in roles that a real actor would not accept for various reasons. Both
377:
franchise has become particularly notable for its prominent usage of virtual actors, driven by a desire in recent entries to reuse characters that first appeared in the
672:
359:
275:
902:
Ralf
Remshardt (2006). "The actor as imtermedialist: remetiation, appropriation, adaptation". In Freda Chapple and Chiel Kattenbelt (ed.).
516:
have won actions for damages against people who employed their images in advertisements that they had refused to take part in themselves.
1070:— a detailed discussion of the law, as it stood in 1997, relating to virtual humans and the rights held over them by real humans
1086:
1063:
1023:
995:
936:
911:
883:
858:
804:
774:
739:
495:
United States, for instance, they must resort to database protection laws in order to exercise what control they have (The proposed
349:
247:, Canada. The characters were rendered in three dimensions, and were capable of speaking, showing emotion, and shaking hands.
240:
953:
1128:
1118:
40:
1123:
623:
627:, they were adapted as the Evil Beast Morpher Ranger clones created by Filmloid's English adapted equivalent Gamertron.
519:
In the USA, the use of a digital clone in advertisements is required to be accurate and truthful (section 43(a) of the
820:
523:
and which makes deliberate confusion unlawful). The use of a celebrity's image would be an implied endorsement. The
442:
325:
531:
impersonator would violate the Act unless it contained a disclaimer stating that Allen did not endorse the product.
730:
Brooks Landon (2002). "Synthespians, Virtual Humans, and
Hypermedia". In Veronica Hollinger and Joan Gordon (ed.).
378:
301:
59:
1133:
657:
617:
590:
534:
Other concerns include posthumous use of digital clones. Even before
Brandon Lee was digitally reanimated, the
305:, also directed by Cameron, confident in the abilities of computer-generated effects from his experience with
586:
where he created a computer-generated woman which he can easily animate to play the film's central character.
232:
228:
1038:
687:
250:
In 1987, the
Kleiser-Walczak Construction Company (now Synthespian Studios), founded by Jeff Kleiser and
261:") Project, with the aim of creating "life-like figures based on the digital animation of clay models".
162:
342:
328:
worked on creating a virtual actor that was a composite of the bodily parts of several real actors.
543:
1093:— how trademark law affects digital clones of celebrities who have trademarked their personæ
243:. The film was created by six people over a year, and had Monroe and Bogart meeting in a café in
702:
697:
637:
468:
151:
31:
1082:
1059:
1019:
991:
961:
932:
907:
879:
854:
800:
770:
735:
535:
417:
413:
215:
178:
174:
119:
547:
392:
354:
279:
244:
182:
309:, included a mixture of synthetic actors with live animation, including computer models of
1074:
662:
647:
598:
572:
450:
236:
224:
111:
677:
490:
463:
459:
310:
220:
186:
147:
127:
1112:
1101:
762:
692:
579:
551:
429:
425:
421:
409:
293:
271:
251:
139:
682:
609:
595:
569:
539:
513:
170:
155:
131:
123:
732:
Edging Into the Future: Science
Fiction and Contemporary Cultural Transformation
528:
455:
337:
210:
206:
190:
135:
84:
76:
1097:
605:
601:
575:
520:
255:
166:
965:
583:
509:
386:
373:
288:
258:
143:
115:
824:
17:
988:
Cultural
Control And Globalization in Asia: Copyright, Piracy, and Cinema
642:
283:
58:
is the creation or re-creation of a human being in image and voice using
122:. People who have already been digitally cloned as simulations include
1054:
Michael D. Scott and James N. Talbott (1997). "Titles and
Characters".
336:
By the 21st century, virtual actors had become a reality. The face of
266:
876:
Visual
Digital Culture: Surface Play and Spectacle in New Media Genres
707:
652:
564:
67:
1014:
Michael A. Einhorn (2004). "Publicity rights and consumer rights".
296:
included a computer-generated face placed onto a watery pseudopod.
621:, the Metaloid Filmloid created evil clones of the Go-Busters. In
525:
United States
District Court for the Southern District of New York
317:
contained just one scene with photo-realistic computer graphics.
219:). The first actual human beings to be digitally duplicated were
65:
The idea of a virtual actor was first portrayed in the 1981 film
30:"Synthespian" redirects here. For the science fiction novel, see
476:'s storyline takes place roughly five years after the events of
62:
and sound, that is often indistinguishable from the real actor.
1016:
Media, Technology, and Copyright: Integrating Law and Economics
986:
Laikwan Pang (2006). "Expressions, originality, and fixation".
201:
Early computer-generated animated faces include the 1985 film
497:
Database and Collections of Information Misappropriation Act
466:
recreation of Hamill's voice) as portrayed in the 1983 film
90:
In general, virtual humans employed in movies are known as
270:
was the first entirely computer-generated movie to win an
254:
coined the term "synthespian" and began its Synthespian ("
538:
drew up the Astaire Bill, in response to lobbying from
462:(played by an uncredited body double and voiced by an
1079:
Emerging Technologies and the Law: Forms and Analysis
668:
Timeline of computer animation in film and television
400:
leading almost immediately into the opening scene of
795:
Nadia Magnenat-Thalmann and Daniel Thalmann (2004).
734:. University of Pennsylvania Press. pp. 57–59.
39:"Virtual girl" redirects here. For other uses, see
874:Andrew Darley (2000). "The Waning of Narrative".
765:(2002). "The Cyberstar". In Graeme Turner (ed.).
27:(Re-)creation of a human being in image and voice
321:contained over forty shots throughout the film.
110:. There are several legal ramifications for the
340:, who had died partway through the shooting of
1018:. Edward Elgar Publishing. pp. 121, 125.
954:"How 'Rogue One' Brought Back Familiar Faces"
821:"About | Welcome to Synthespian Studios"
8:
436:. Fisher's sole spoken line near the end of
897:
895:
193:to create digital computer models thereof.
1009:
1007:
851:Visual Communication: Images With Messages
790:
788:
786:
931:. Thomson Course Technology. p. 38.
904:Intermediality in Theatre and Performance
454:briefly featured a digital recreation of
844:
842:
725:
723:
757:
755:
753:
751:
719:
527:held that an advertisement employing a
381:during the late 1970s and early 1980s.
1039:Los Angeles Times / Digital Elite Inc.
673:Timeline of CGI in film and television
488:Critics such as Stuart Klawans in the
799:. John Wiley and Sons. pp. 6–7.
448:Similarly, the 2020 second season of
432:), appearing the same as they did in
390:is a direct prequel to the 1977 film
360:Sky Captain and the World of Tomorrow
7:
1081:. Law Journal Press. pp. 6–15.
408:necessitated digital recreations of
952:Itzkoff, Dave (27 December 2016).
853:. Thomson Wadsworth. p. 353.
612:deals with this issue extensively.
604:written, produced and directed by
578:written, produced and directed by
384:The 2016 Star Wars Anthology film
25:
350:Final Fantasy: The Spirits Within
239:for the 100th anniversary of the
241:Engineering Institute of Canada
1:
445:created the special effects.
114:of human actors, relating to
41:Virtual girl (disambiguation)
1102:"Who's Data Is That Anyway?"
624:Power Rangers Beast Morphers
443:Industrial Light & Magic
387:Rogue One: A Star Wars Story
326:Industrial Light & Magic
1058:. Aspen Publishers Online.
849:Paul Martin Lester (2005).
396:, with the ending scene of
353:, and by 2004, a synthetic
213:'s song "Hard Woman" (from
1150:
906:. Rodopi. pp. 52–53.
878:. Routledge. p. 109.
797:Handbook of Virtual Humans
502:Terminator 2: Judgment Day
319:Terminator 2: Judgment Day
302:Terminator 2: Judgment Day
60:computer-generated imagery
38:
29:
1077:(2002). "Trademark Law".
990:. Routledge. p. 20.
658:On-set virtual production
618:Tokumei Sentai Go-Busters
371:Since the mid-2010s, the
767:The Film Cultures Reader
282:, and performed live at
276:Best Animated Short Film
189:had all had their heads
1056:Scott on Multimedia Law
233:Nadia Magnenat Thalmann
229:Rendez-vous in Montreal
927:Simon Danaher (2004).
688:Virtual cinematography
416:(played and voiced by
227:in a March 1987 film "
1129:Anatomical simulation
393:Star Wars: A New Hope
163:Arnold Schwarzenegger
1119:3D computer graphics
108:"silicentric" actors
1124:Animated characters
544:Screen Actors Guild
958:The New York Times
703:Virtual newscaster
698:Virtual influencer
638:Avatar (computing)
478:Return of the Jedi
469:Return of the Jedi
152:Anna Marie Goddard
120:personality rights
929:Digital 3D Design
542:'s widow and the
536:California Senate
414:Grand Moff Tarkin
179:Denzel Washington
175:Michelle Pfeiffer
16:(Redirected from
1141:
1134:Cyberpunk themes
1105:
1092:
1069:
1041:
1036:
1030:
1029:
1011:
1002:
1001:
983:
977:
976:
974:
972:
949:
943:
942:
924:
918:
917:
899:
890:
889:
871:
865:
864:
846:
837:
836:
834:
832:
823:. Archived from
817:
811:
810:
792:
781:
780:
759:
746:
745:
727:
708:Virtual YouTuber
548:Marlene Dietrich
379:original trilogy
355:Laurence Olivier
280:Silicon Graphics
245:Montreal, Quebec
183:Gillian Anderson
21:
1149:
1148:
1144:
1143:
1142:
1140:
1139:
1138:
1109:
1108:
1096:
1089:
1075:Richard Raysman
1073:
1066:
1053:
1050:
1048:Further reading
1045:
1044:
1037:
1033:
1026:
1013:
1012:
1005:
998:
985:
984:
980:
970:
968:
951:
950:
946:
939:
926:
925:
921:
914:
901:
900:
893:
886:
873:
872:
868:
861:
848:
847:
840:
830:
828:
819:
818:
814:
807:
794:
793:
784:
777:
761:
760:
749:
742:
729:
728:
721:
716:
663:Synthetic media
648:Digital cloning
634:
599:science fiction
573:science fiction
560:
486:
474:The Mandalorian
472:. Canonically,
451:The Mandalorian
369:
334:
237:Daniel Thalmann
225:Humphrey Bogart
203:Tony de Peltrie
199:
112:digital cloning
52:virtual persona
44:
37:
28:
23:
22:
15:
12:
11:
5:
1147:
1145:
1137:
1136:
1131:
1126:
1121:
1111:
1110:
1107:
1106:
1094:
1087:
1071:
1064:
1049:
1046:
1043:
1042:
1031:
1024:
1003:
996:
978:
944:
937:
919:
912:
891:
884:
866:
859:
838:
827:on 11 May 2014
812:
805:
782:
775:
747:
740:
718:
717:
715:
712:
711:
710:
705:
700:
695:
690:
685:
680:
678:Uncanny valley
675:
670:
665:
660:
655:
650:
645:
640:
633:
630:
629:
628:
613:
587:
559:
556:
491:New York Times
485:
482:
464:audio deepfake
460:Luke Skywalker
368:
365:
357:co-starred in
333:
330:
311:Robert Patrick
292:, directed by
221:Marilyn Monroe
216:She's the Boss
198:
195:
187:David Duchovny
148:Audrey Hepburn
128:Marilyn Monroe
96:virtual actors
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1146:
1135:
1132:
1130:
1127:
1125:
1122:
1120:
1117:
1116:
1114:
1103:
1099:
1095:
1090:
1088:1-58852-107-9
1084:
1080:
1076:
1072:
1067:
1065:1-56706-333-0
1061:
1057:
1052:
1051:
1047:
1040:
1035:
1032:
1027:
1025:1-84376-657-4
1021:
1017:
1010:
1008:
1004:
999:
997:0-415-35201-0
993:
989:
982:
979:
967:
963:
959:
955:
948:
945:
940:
938:1-59200-391-5
934:
930:
923:
920:
915:
913:90-420-1629-9
909:
905:
898:
896:
892:
887:
885:0-415-16554-7
881:
877:
870:
867:
862:
860:0-534-63720-5
856:
852:
845:
843:
839:
826:
822:
816:
813:
808:
806:0-470-02316-3
802:
798:
791:
789:
787:
783:
778:
776:0-415-25281-4
772:
769:. Routledge.
768:
764:
763:Barbara Creed
758:
756:
754:
752:
748:
743:
741:0-8122-1804-3
737:
733:
726:
724:
720:
713:
709:
706:
704:
701:
699:
696:
694:
693:Virtual human
691:
689:
686:
684:
681:
679:
676:
674:
671:
669:
666:
664:
661:
659:
656:
654:
651:
649:
646:
644:
641:
639:
636:
635:
631:
626:
625:
620:
619:
614:
611:
607:
603:
600:
597:
593:
592:
588:
585:
581:
580:Andrew Niccol
577:
574:
571:
567:
566:
562:
561:
557:
555:
553:
552:Vincent Price
549:
545:
541:
537:
532:
530:
526:
522:
517:
515:
511:
505:
503:
498:
493:
492:
483:
481:
479:
475:
471:
470:
465:
461:
458:'s character
457:
453:
452:
446:
444:
439:
435:
431:
430:Ingvild Deila
427:
426:Princess Leia
423:
422:Carrie Fisher
419:
415:
411:
410:Peter Cushing
407:
403:
399:
395:
394:
389:
388:
382:
380:
376:
375:
366:
364:
362:
361:
356:
352:
351:
345:
344:
339:
331:
329:
327:
322:
320:
316:
312:
308:
304:
303:
297:
295:
294:James Cameron
291:
290:
285:
281:
277:
273:
272:Academy Award
269:
268:
262:
260:
257:
253:
252:Diana Walczak
248:
246:
242:
238:
234:
231:" created by
230:
226:
222:
218:
217:
212:
208:
204:
197:Early history
196:
194:
192:
191:laser scanned
188:
184:
180:
176:
172:
168:
164:
159:
157:
153:
149:
145:
141:
140:Elvis Presley
137:
133:
129:
125:
121:
117:
113:
109:
105:
101:
97:
93:
88:
86:
82:
78:
74:
70:
69:
63:
61:
57:
56:digital clone
53:
49:
48:virtual human
42:
35:
34:
33:Synthespians™
19:
1078:
1055:
1034:
1015:
987:
981:
971:27 September
969:. Retrieved
957:
947:
928:
922:
903:
875:
869:
850:
829:. Retrieved
825:the original
815:
796:
766:
731:
683:Virtual band
622:
616:
610:Robin Wright
591:The Congress
589:
563:
540:Fred Astaire
533:
518:
514:Bette Midler
506:
501:
489:
487:
484:Legal issues
477:
473:
467:
449:
447:
437:
433:
412:in the role
405:
401:
397:
391:
385:
383:
372:
370:
358:
348:
341:
335:
332:21st century
323:
318:
314:
306:
300:
298:
287:
286:. In 1989,
265:
263:
249:
214:
202:
200:
171:Kate Mulgrew
160:
156:George Burns
132:Fred Astaire
124:Bill Clinton
107:
103:
99:
95:
92:synthespians
91:
89:
80:
72:
66:
64:
55:
51:
47:
45:
32:
608:, starring
582:, starring
529:Woody Allen
456:Mark Hamill
428:(played by
404:. As such,
338:Brandon Lee
211:Mick Jagger
207:music video
136:Ed Sullivan
85:Mark Leyner
81:Et Tu, Babe
77:Pat Cadigan
18:Synthespian
1113:Categories
1098:Greg Panos
714:References
606:Ari Folman
602:drama film
576:drama film
558:In fiction
521:Lanham Act
434:A New Hope
402:A New Hope
313:'s face.
167:Jim Carrey
104:cyberstars
966:0362-4331
584:Al Pacino
510:Tom Waits
438:Rogue One
418:Guy Henry
406:Rogue One
398:Rogue One
374:Star Wars
367:Star Wars
324:In 1997,
315:The Abyss
307:The Abyss
299:In 1991,
289:The Abyss
264:In 1988,
256:synthetic
161:By 2002,
144:Bruce Lee
116:copyright
1100:(1998).
643:Deepfake
632:See also
343:The Crow
284:SIGGRAPH
259:thespian
205:and the
831:26 July
420:), and
267:Tin Toy
100:vactors
1085:
1062:
1022:
994:
964:
935:
910:
882:
857:
803:
773:
738:
653:Live2D
565:S1m0ne
185:, and
154:, and
79:, and
68:Looker
106:, or
73:Fools
54:, or
1083:ISBN
1060:ISBN
1020:ISBN
992:ISBN
973:2019
962:ISSN
933:ISBN
908:ISBN
880:ISBN
855:ISBN
833:2014
801:ISBN
771:ISBN
736:ISBN
596:2013
594:, a
570:2002
568:, a
550:and
512:and
235:and
223:and
209:for
118:and
615:In
424:as
83:by
75:by
1115::
1006:^
960:.
956:.
894:^
841:^
785:^
750:^
722:^
554:.
504:.
480:.
363:.
181:,
177:,
173:,
169:,
165:,
158:.
150:,
146:,
142:,
138:,
134:,
130:,
126:,
102:,
98:,
94:,
87:.
50:,
46:A
1104:.
1091:.
1068:.
1028:.
1000:.
975:.
941:.
916:.
888:.
863:.
835:.
809:.
779:.
744:.
274:(
43:.
36:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.