The 2020 Oscar nominees for visual effects: Playing with ages, time and reality

'The Irishman,' '1917,' 'The Lion King,' 'Star Wars: The Rise of Skywalker,' 'Avengers: Endgame' — a rundown of the visual-effects Oscar finalists.

Prepping a “Star Wars” binge this weekend? We’ve got you covered.

“Essentially, we took outtakes [from previous ‘Star Wars’ films], then we built a digital Carrie Fisher outside of her face,” Guyett said. “So what we see in the movie is really a digital character with a live-action face. She’s not there: Carrie Fisher’s cinematic swan song in “Star Wars: The Rise of Skywalker” was digitally aided. Also pictured, left, is Daisy Ridley as Rey.

“Every transition is handcrafted and has its own, very precise solution to look absolutely seamless,” said VFX supervisor Guillaume Rocheron. “It used a very wide range of techniques. Some took two and a half months of work to get those few seconds — matching the lighting and the flow of the camera, the movement of everything.”

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