The footage was grainy, sepia-toned, and appeared to be shot from a high corner of a real stone cell. A man in a tattered cowl sat at a desk, his back to the camera. He was writing furiously. As the man turned, Lucas gasped. It wasn’t an actor; it was a digital rendering of his grandfather, looking exactly as he had forty years ago.

O Nome da Rosa (filme) – Wikipédia, a enciclopédia livre