The Incredible Hulk CGI Thread

[Godman]

Or notify the Mod's if you are feeling Harassed.

Only thing I'm harassing is the movie and things I specifically don't like about it and what I feel could have looked better and been more visually stunning to me.

 

[deathfromabove]

I know, but in his original statement he had incorrect terminology, "storyboard artist" or not. But hey, your the one standing up for a guy who is pretty much universally despised and ignored right now on this board.

did you not notice the devil's advocate part of my post. you guys are the ones who kept engaging the guy. ignore him and he will go away.

 

[Shivsguy616]

I know, but in his original statement he had incorrect terminology, "storyboard artist" or not. But hey, your the one standing up for a guy who is pretty much universally despised and ignored right now on this board.

Well, if we're being pedantic, shouldn't that be "you're"?

 

[M.E.H.Z.E.B]

Ladies, I have arrived. Fashionably late, as usual.

ANNOUNCEMENT

Now, what do I see here? Posters thinking they are 'special' coz they feel their opinions are better than everyone else's? Well, I've seen it before. It doesn't last. The superiority, or 'god' complex only works when you really have to show for something. Asserting your dominance on an internet message board where like-minded posters come to interact about their favorite heroes is, in my humble opinion (which is of course open to scrutiny and also ridicule) sort of - unseen and probably undesired.

Sorry to say, but going to film school, or owning your own studio does not give anyone the right to demean others here, and if it is seen, action will be taken against the poster. At the Hype, every opinion will be judged in the same reasonable and objective standard. No one is better than anyone else, and so, it is expected that debates will not involve personal attacks, smugness, or be diluted by a superiority complex which should be left offline.

If any behavior to the contrary occurs, the relevant parties will be dealt with in the prescribed manner of the rules and regulations of the Hype.

Thank you. Enjoy your Hype experience.

 

[LostInnocence]

M.E.H.Z.E.B

Well done.

-applause-

 

[Compi716]

Thank you, M.E.H.Z.E.B. Finally, this thread has brought the attention of a mod.

 

[TheBeastWithin]

Good to see the authorities are stepping in. I've had him on ignore for days. Only thing that makes this thread tolerable. Back on topic: This shot seems better than when originally released.

 

[Khemik@L]

This shot seems better than when originally released.

Where did you get this shot?

 

[Kirmit]

Yeah does look better, hulk looks bulkier and not as towering over Blonsky, can't wait to see the finished product in the cinema.

 

[Khemik@L]

Double Post!!

 

[Shivsguy616]

From the footage.

 

[Khemik@L]

TRIPLE POST! Sorry My PC Was giving some problems

 

[TheBeastWithin]

Got it here:
http://www.scifijapan.com/articles/2008/06/01/the-incredible-hulk-production-notes/

From this thread:
http://forums.superherohype.com/showthread.php?t=303802

 

[Knightsaber Priss]

Where did you get this shot?

He most likely got it from a TV Spot.

 

[TheBeastWithin]

From same article:

Creating The Hulk

Director Leterrier knew what he expected of the final design for his protagonist. “I wanted something überhuman,” he states. “I wanted to feel texture, skin, veins. It was really important for me to hone in on a great looking Hulk.” He adds that the team wasn’t interested in doing simply “a bulked up Edward.” “We wanted to do something different, where Hulk has this iconic shape,” he says.

Williams knew that achieving the exact blend for a creature he believed was more “linebacker than bodybuilder,” who could be powerful, scary and, simultaneously, empathetic, was a monstrous task. The Hulk fans have huge expectations, and allowing today’s savvy audiences to connect with any CG character requires enormous effort on the part of a film’s visual effects team.

As the VFX supervisor explains, successfully translating our hero from the development stages to the movie screen is predicated on our ability to find emotional characteristics in that creature. He reflects: “As humans, we spend so much time scanning people’s faces. And the difference between being able to read a computer-generated character and a real human is a very narrow margin. But we naturally have the instinct to tell when something isn’t right. We can tell when muscles aren’t firing correctly in the face, or when the eyes aren’t moving properly; we constantly scan other human faces to read emotion.”

When they began the animation process, they knew The Hulk not only had to convey his feelings of rage and displeasure, but do so opposite a very real cast of actors. The visual effects team devised a tool set to create audience empathy for The Hulk; this allowed for the character to have a number of corporeal affectations, giving the audience visual cues to interpret what they think The Hulk is thinking and how he is feeling. Williams provides: “In the tool set, we have physical attributes like a muscle structure and vascular structure that can grow or deflate in volume. To show that he’s active or angry, for example, we can add or take a bit of saturation out of his color—things that allow us to create something humans can relate to. Everybody can relate to the fact that if you’re embarrassed, you become flushed in the face. It’s little details like those that we needed to put into this Hulk.”

Finally, size would be addressed by the designers and animators. Offers Williams: “One of the big challenges on the movie was deciding the scale of the characters. Our challenge was to create a consistent size for The Hulk throughout the movie. We didn’t want him to grow. We didn’t want him to ebb or flow. We wanted him to be one size the whole time, so we picked 9’, because it would still allow him to relate to human beings and not be so big that he would be almost alien or unbelievable. It allows you to believe he’s really there, but you still have the ability for him to believably pick up a car and throw it and show other great feats of strength like slamming the ground and creating a giant chasm in the street.”

 

[TheBeastWithin]

Designing The Abomination

The Abomination in this film is 11’ tall, 2’ taller than The Hulk; a fact Williams says gives him “a significant advantage in our movie.” “One stride by The Abomination is 5’ to 10’, depending on if he’s running or not,” he says. “He can move up to 30 miles an hour pretty easily. We worked from the fact that The Abomination needed to have an advantage, especially in the third act, because the character arc is about heart. At the end of the movie, The Hulk comes back because of his heart…he’s got to save Betty.”

 

[TheBeastWithin]

Motion Capture

The direction of all scenes involving The Hulk and The Abomination was driven by the groundbreaking process that combines use of computer generation and motion capture (mo-cap), developed to astonishing results for Peter Jackson’s The Lord of the Rings precious character (and Liv Tyler’s former co-star), Gollum.

Movement coach TERRY NOTARY was brought in to provide The Hulk’s and The Abomination’s character and movement references for the digital masters at Rhythm & Hues.

Wearing a specialized suit that enabled cameras to read and instantly transfer every angle and subtlety of his movement to two 40’ monitors, Notary spent more than two months choreographing and refining the beats, hits and kicks that define the enemies. Every movement and the driving force behind it was thoroughly explored. For his performances, Notary credits the comic books as his starting point for each character. “It’s important to pay homage to the history of the characters,” he explains. “The Hulk has a very human quality to him; he’s a heart-driven character. His movements are grounded and his physicality is very real. The Abomination, on the other hand, is a very mind-driven character. His mind is in charge, and the body just follows. He doesn’t feel everything like The Hulk. The head leads all of his movements, and his body follows.”

“One of the things we got out of the motion-capture stage with Terry and Keith is to come up with distinguishing movements,” offers Williams. “For instance, Hulk has very rounded movements, and he’s also a very defensive character. If you were to push Hulk, he might step back for a second, then he’ll come back at you. Whereas, if you push Abomination, he’s not going to move much; he’s right in your face again. So, we created these moves where Abomination can land on his back, do a quick tip up, and he’s right back into the action…whereas Hulk rolls over, jumps up, then walks back toward the fight again.”

Both Norton and Roth were integrated into their characters with cyber scanning through a process known as Mova—painting them with infrared paint, and then shooting the actors with 37 infrared cameras to capture their facial performances. Leterrier elaborates on the rationale: “This way, you get a performance reference. We also shot HD reference of their faces, all the film we could get.”

 

[Nivek]

Okay, in the footage the pants are blue, why are they purple in some shots? Is someone outside the studio color correcting these stills?

 

[Spade]

I liked the idea of having the movements reflect their character and the events. It would make sense that Hulk puts his whole body in motion, just like it makes sense that Blonsky would project his head outward given that the rest of his body is still unfamiliar.

 

[TheBeastWithin]

-Great approach to have a movement professional design and provide unique movement styles for Hulk and Abom, as well as using mova on Norton and Roth.

- Very clever CGI elements that I don't believe ILM's Hulk utilitzed.
“In the tool set, we have physical attributes like a muscle structure and vascular structure that can grow or deflate in volume. To show that he’s active or angry, for example, we can add or take a bit of saturation out of his color—things that allow us to create something humans can relate to. Everybody can relate to the fact that if you’re embarrassed, you become flushed in the face. It’s little details like those that we needed to put into this Hulk.”

-This is why I've always thought 9' was perfect.
"we picked 9’, because it would still allow him to relate to human beings and not be so big that he would be almost alien or unbelievable. It allows you to believe he’s really there, but you still have the ability for him to believably pick up a car and throw it and show other great feats of strength like slamming the ground and creating a giant chasm in the street.”

-I knew that Hulk was 9' tall but didn't know that Abom is 11'. Sweet.

-Also like the bit that Hulk is more "linebacker than bodybuilder".

 

[goldenchylde]

You can see a lot more definition in the musculature. I didn't think I could be more excited for this flick than when the first trailer dropped, now with every pic I think how bad I don't wanna get hit by a car or something so I can see TIH.

 

[goldenchylde]

Wait, when I said I was hyped just now, I musta lied. Thanks for posting that article Beast...I'm now HYYYYYYYYYYYPED!!!!

 

[Gamma Ra]

Hulk's CGI RULES!!!

 

[Weadazoid]

there is far more in the way of definition in that shot. Bicep, shoulders and fore arms look to be more chisled. As I noted in another thread the sinue of his muscle is starting to really make the hulk work, In motion it is beautiful

 

[Godman]

From same article:

Creating The Hulk

Director Leterrier knew what he expected of the final design for his protagonist. “I wanted something überhuman,” he states. “I wanted to feel texture, skin, veins. It was really important for me to hone in on a great looking Hulk.” He adds that the team wasn’t interested in doing simply “a bulked up Edward.” “We wanted to do something different, where Hulk has this iconic shape,” he says.

Williams knew that achieving the exact blend for a creature he believed was more “linebacker than bodybuilder,” who could be powerful, scary and, simultaneously, empathetic, was a monstrous task. The Hulk fans have huge expectations, and allowing today’s savvy audiences to connect with any CG character requires enormous effort on the part of a film’s visual effects team.

As the VFX supervisor explains, successfully translating our hero from the development stages to the movie screen is predicated on our ability to find emotional characteristics in that creature. He reflects: “As humans, we spend so much time scanning people’s faces. And the difference between being able to read a computer-generated character and a real human is a very narrow margin. But we naturally have the instinct to tell when something isn’t right. We can tell when muscles aren’t firing correctly in the face, or when the eyes aren’t moving properly; we constantly scan other human faces to read emotion.”

When they began the animation process, they knew The Hulk not only had to convey his feelings of rage and displeasure, but do so opposite a very real cast of actors. The visual effects team devised a tool set to create audience empathy for The Hulk; this allowed for the character to have a number of corporeal affectations, giving the audience visual cues to interpret what they think The Hulk is thinking and how he is feeling. Williams provides: “In the tool set, we have physical attributes like a muscle structure and vascular structure that can grow or deflate in volume. To show that he’s active or angry, for example, we can add or take a bit of saturation out of his color—things that allow us to create something humans can relate to. Everybody can relate to the fact that if you’re embarrassed, you become flushed in the face. It’s little details like those that we needed to put into this Hulk.”

Finally, size would be addressed by the designers and animators. Offers Williams: “One of the big challenges on the movie was deciding the scale of the characters. Our challenge was to create a consistent size for The Hulk throughout the movie. We didn’t want him to grow. We didn’t want him to ebb or flow. We wanted him to be one size the whole time, so we picked 9’, because it would still allow him to relate to human beings and not be so big that he would be almost alien or unbelievable. It allows you to believe he’s really there, but you still have the ability for him to believably pick up a car and throw it and show other great feats of strength like slamming the ground and creating a giant chasm in the street.”

Now I wish they had actually gone with the Bulked up Norton look. I would have loved to see that more photo realistic approach. Well I can't blame the artists but the director for making poor decisions on not being tough on CG. We'll see how the movie plays. Hopefully the trailer is NOTHING like the movie will actually be like, which is rare, but The score along with Norton's take should be able to distract me for two hours, but a 28 or so minute fight with CG at the end? May throw me off as bad as the other Hulk finale.