Dr. Banner, your work is unparalleled, and I'm a huge fan of the way you lose control and turn into an enormous green rage monster.
One of the really successful design decisions in the beginning was to incorporate Mark into the Hulk. And there was a lot of debate back and forth on whether, you know, the Hulk should look like Mark, but I think having that semblance of Mark Ruffalo, having the eyes and the area on the face where you feel like you can see him in there really grounds the character in reality.
Once the film was edited, and we knew exactly what the Hulk shots were gonna be, ugh, he came up here with Joss, and we set up cameras that represented…here is where the film camera was, and here's a bunch of witness cameras. And we gave him a space to work in and let him run through every performance on the film. We sort of did a rough calculation and figured out the Hulk is somewhere between eleven hundred and sixteen hundred pounds. And so, that kind of character, that kind of mass, is gonna react very differently than Mark does. And I think that's where using Mark's performance and combining that with the incredible animation that's done here, that's where the artistry happens in the interpretation of how that performance needs to be augmented to become the Hulk.
When he's unleashed, he can fly, you know, he can jump huge distances, he can smash things. We wanted to make sure that he was able to do all those things and still have sort of a human believable, you know, locomotion to him. The first layer is getting the animation nailed. Then on top of that we had a whole process of simulation. So there's a muscle and bone structure under his skin that preserves the volume as he's moving. On top of that there's a dynamics part of it, which is a simulation that happens once the animation is done. That gives you the kind of jiggly parts of it, and I think one of the great decisions on this Hulk, was that he's not…he's not super cut all the time.
We then have a cloth simulation on top of that, which we typically use for shirts and pants, but it actually works really well when it's constrained to give us all the little fine wrinkles in the skin. And on top of that, there was a very thin layer of ugh, skin simulation that we did, just to get that final level of ugh, movement to the skin that, you know, is so hard to re-create it.
Making sure that we were accurately getting…getting the performance that Joss was looking for, and also making him look real, that last fifteen percent ended up being a huge challenge for us.