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A virtual actor or also known as virtual human, virtual persona, or digital clone is the creation or re-creation of a human being in image and voice using computer-generated imagery and sound, that is often indistinguishable from the real actor.
The idea of a virtual actor was first portrayed in the 1981 film Looker, 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: Fools by Pat Cadigan, and Et Tu, Babe by Mark Leyner.
In general, virtual humans employed in movies are known as synthespians, virtual actors, cyberstars, or "silicentric" actors. There are several legal ramifications for the digital cloning of human actors, relating to copyright and personality rights. People who have already been digitally cloned as simulations include Bill Clinton, Marilyn Monroe, Fred Astaire, Ed Sullivan, Elvis Presley, Bruce Lee, Audrey Hepburn, Anna Marie Goddard, and George Burns.
By 2002, Arnold Schwarzenegger, Jim Carrey, Kate Mulgrew, Michelle Pfeiffer, Denzel Washington, Gillian Anderson, and David Duchovny had all had their heads laser scanned to create digital computer models thereof.
In 1987, the Kleiser-Walczak Construction Company (now Synthespian Studios), founded by Jeff Kleiser and Diana Walczak coined the term "synthespian" and began its Synthespian (" ") Project, with the aim of creating "life-like figures based on the digital animation of clay models".
In 1988, Tin Toy was the first entirely computer-generated movie to win an Academy Award (Best Animated Short Film). 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 Silicon Graphics, and performed live at SIGGRAPH. In 1989, The Abyss, directed by James Cameron included a computer-generated face placed onto a watery pseudopod.
In 1991, , also directed by Cameron, confident in the abilities of computer-generated effects from his experience with The Abyss, included a mixture of synthetic actors with live animation, including computer models of Robert Patrick's face. The Abyss contained just one scene with photo-realistic computer graphics. Terminator 2: Judgment Day contained over forty shots throughout the film.
In 1997, Industrial Light & Magic worked on creating a virtual actor that was a composite of the bodily parts of several real actors.
In 2000, Microsoft Research published an article by Gordon Bell and Jim Gray, titled "Digital immortality."
/ref>Bell, Gordon, and Jim Gray. "Digital immortality." Communications of the ACM 44.3 (2001): 28-31 The authors worked on the system called MyLifeBits to create a "digital clone"
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The 2016 Star Wars Anthology film is a direct prequel to the 1977 film , with the ending scene of Rogue One leading almost immediately into the opening scene of A New Hope. As such, Rogue One called for Industrial Light & Magic to make digital recreations of certain characters so they would look the same as they did in A New Hope, specifically the roles of Peter Cushing as Grand Moff Tarkin (played and voiced by Guy Henry) and Carrie Fisher as Princess Leia (played by Ingvild Deila and voiced by an archive recording of Fisher). 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.
Similarly, the 2020 second season of The Mandalorian briefly featured a digital recreation of Mark Hamill's character Luke Skywalker (played by an uncredited body double and voiced by an audio deepfake recreation of Hamill's voice) as portrayed in the 1983 film Return of the Jedi. Canonically, The Mandalorian's storyline takes place roughly five years after the events of Return of the Jedi.
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 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 Tom Waits and Bette Midler have won actions for damages against people who employed their images in advertisements that they had refused to take part in themselves.
In the USA, the use of a digital clone in advertisements is required to be accurate and truthful (section 43(a) of the Lanham Act and which makes deliberate confusion unlawful). The use of a celebrity's image would be an implied endorsement. The United States District Court for the Southern District of New York held that an advertisement employing a Woody Allen impersonator would violate the Act unless it contained a disclaimer stating that Allen did not endorse the product.
Other concerns include posthumous use of digital clones. Even before Brandon Lee was digitally reanimated, the California Senate drew up the Astaire Bill, in response to lobbying from Fred Astaire's widow and the Screen Actors Guild, 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 Marlene Dietrich Los Angeles Times / Digital Elite Inc. and Vincent Price.
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