[music]
>>STARK: 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.
>>BANNER: Thanks.
>>WHITE: 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 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 going to be
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
The Hulk is somewhere between eleven hundred and sixteen hundred pounds.
That character, that kind of mass, is going to react 
very differently than Mark does.  And I think that's where using Mark's performance
 and combining that with the incredible animation thats done
here, that's where the artistry happens in the interpretation of how
that performance needs to be augmented to become The Hulk.
[ROAR]
When he's unleashed, he can fly, 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 
a human believable locomotin  
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 jiggly parts of it, and I think one of the great decisions
on this Hulk, is that he's not super cut
all the time
[ROAR]
We then have a cloth simulation
on top of that, that we typically use for shirts and pants
but it actually works really well when it's constrained to give us all the fine wrinkles
in the skin.  And on top of that, there was a very fine layer of
skin simulation that we did, just to get that final level of
movement to the skin that is so hard
to reproduce.
Making sure that we were acuratley 
getting the performance that Joss was looking for, and also making him look
real, that last fifteen percent ended up a huge challenge
for us
>>CAP AMERICA: Hulk! Smash!
