AB 2602 and Digital Replicas: Practical Impact on Talent Negotiations?

Hey everyone, Darius Pope here, Best Boy Electric on a new sci-fi series. We’re deep in pre-production, planning some complex VFX sequences, and the topic of digital replicas keeps coming up. I’m thinking about how this impacts the 'above the line' folks, specifically with AB 2602 and those specific digital replica clauses I’ve heard about.

Historically, it felt like the legal side of digital doubles was a bit looser, more open to interpretation. Now, with more concrete legislation and contract language, I'm genuinely curious: how has this practically changed talent negotiations? Are agents pushing harder for specific usage fees or time limits on how long a digital double can be used after a production wraps? Does it vary significantly between living actors and using rights for deceased performers? Our DP is planning some pretty intense greenscreen work with the ALEXA 35, and we're looking at some advanced de-aging for a flashback. Just trying to understand the ripple effect of these clauses on the overall production landscape from your experiences.