Leterrier cited the motion capture portrayals of Gollum and King Kong by Andy Serkis (from The Lord of the Rings and King Kong) as the standard he was aiming for.[33] Norton and Roth filmed 2500 takes of different movements the monsters would make (such as the Hulk's "thunder claps").[25] Phosphorescent face paint applied to the actors' faces and strobe lighting would help record the most subtle mannerisms into the computer.[50] Others including Cyril Raffaelli provided motion capture for stunts and fights,[18] after the main actors had done video referencing.[51] Leterrier hired Rhythm and Hues to provide the CGI, while Image Engine spent over a year working on a shot where Banner's gamma-irradiated blood falls through three factory floors into a bottle.[52] Overall 700 effects shots were created. Motion capture aided in placing and timing of movements, but overall key frame animation by Rhythm and Hues provided the necessary "finesse [and] superhero quality".[53] Many of the animators and Leterrier himself provided video reference for the climactic fight.[21]
Dale Keown's comic book artwork of the Hulk was an inspiration for his design.[33] Leterrier felt the first Hulk had "too much fat [and] the proportions were a little off". He explained, "The Hulk is beyond perfect so there is zero grams of fat, all chiseled, and his muscle and strength defines this creature so he’s like a tank."[33] Visual effects supervisor Kurt Williams envisioned the Hulk's physique as a linebacker rather than a bodybuilder. A height of nine feet was chosen for the character as they did not want him to be too inhuman. To make him more expressive, computer programs controlling the inflation of his muscles and saturation of skin color were created. Williams cited flushing as an example of humans' skin color being influenced by their emotions.[25] The animators felt green blood would make his skin become darker rather than lighter, and his skin tones, depending on lighting, either resemble an olive or even gray slate.[50] His animation model was completed without the effects company's full knowledge of what he would be required to do: he was rigged to do whatever they imagined, in case the model was to be used for The Avengers film.[53] The Hulk's long hair was modeled on Mike Deodato's art.[53] He originally had a crew cut, but Leterrier decided long flopping hair imbued him with more character.[51] Leterrier cited An American Werewolf in London as the inspiration for Banner's transformation, wanting to show how painful it was for him to change.[54] As a nod to the live action TV series, Banner's eyes change color first when he transforms.[55]
Dale Keown's comic book artwork of the Hulk was an inspiration for his design.[33] Leterrier felt the first Hulk had "too much fat [and] the proportions were a little off". He explained, "The Hulk is beyond perfect so there is zero grams of fat, all chiseled, and his muscle and strength defines this creature so he’s like a tank."[33] Visual effects supervisor Kurt Williams envisioned the Hulk's physique as a linebacker rather than a bodybuilder. A height of nine feet was chosen for the character as they did not want him to be too inhuman. To make him more expressive, computer programs controlling the inflation of his muscles and saturation of skin color were created. Williams cited flushing as an example of humans' skin color being influenced by their emotions.[25] The animators felt green blood would make his skin become darker rather than lighter, and his skin tones, depending on lighting, either resemble an olive or even gray slate.[50] His animation model was completed without the effects company's full knowledge of what he would be required to do: he was rigged to do whatever they imagined, in case the model was to be used for The Avengers film.[53] The Hulk's long hair was modeled on Mike Deodato's art.[53] He originally had a crew cut, but Leterrier decided long flopping hair imbued him with more character.[51] Leterrier cited An American Werewolf in London as the inspiration for Banner's transformation, wanting to show how painful it was for him to change.[54] As a nod to the live action TV series, Banner's eyes change color first when he transforms.[55]
Leterrier changed the Abomination's design from the comics because he felt the audience would question why he resembled a fish or a reptile, instead of "an über-human" like the Hulk. Rather, his hideousness is derived from being injected multiple times into his skin, muscles and bones; creating a creature with a protruding spine and sharp bones that he can use to stab. His green skin is pale, and reflects light, so it appears orange because of surrounding fire during the climactic battle.[19] The motion capture performers, including Roth, tried to make the character behave less gracefully than the Hulk. They modeled his posture and the way he turns his head on a shark.[30] The character also shares Roth's tattoos.[56] A height of eleven feet was chosen for the character.[25] Leterrier tried to work in the character's pointed ears, but realized the Hulk would bite them off (using the example of Mike Tyson when he fought Evander Holyfield), and felt ignoring that would make the Hulk come across as stupid.[57]
Leterrier had planned to use prosthetic makeup and animatronics to complement the computer-generated imagery that was solely used in the previous film.[58] The make-up artists who worked on X-Men: The Last Stand were set to portray Blonsky's gradual transformation,[17] which Zak Penn said would portray Blonsky "not [being] used to having these properties. Like he's much heavier, and we talked about how when he walks down the sidewalk, his weight destroys the sidewalk and he's tripping. [It's all about] the humanization of these kinds of superhero characters, showing the effects physics may actually have on [them]."[59] Tom Woodruff, Jr. of Amalgamated Dynamics (who created all the costumes for the Alien films since Alien 3) was in negotiations, and created two busts of the Hulk and prosthetic hands to act as stand-ins for the character. However, a full animatronic was never created as it was decided it would complicate production to set up shots for a puppet and then a computer graphic.[60] An animatronic was used for Sterns' mutating head though.[46]
Destruction was mostly done practically. A model of a bottling machine was smashed through a wall for when the Hulk escapes with the factory. The filmmakers used steam and dry ice for the gas used to smoke out the Hulk, and they destroyed a real Humvee by dropping a weight on it when shooting the Culver University battle. Pipes blew fire for when the Hulk strikes down the computer-generated helicopter. When Banner falls from the helicopter to trigger the Hulk into fighting the Abomination, Norton was attached to a surface held by a bar which turned 90 degrees while the camera was pulled to the ceiling to simulate falling. Leterrier felt making Norton fall that distance would render him unable to act.[21]
Leterrier had planned to use prosthetic makeup and animatronics to complement the computer-generated imagery that was solely used in the previous film.[58] The make-up artists who worked on X-Men: The Last Stand were set to portray Blonsky's gradual transformation,[17] which Zak Penn said would portray Blonsky "not [being] used to having these properties. Like he's much heavier, and we talked about how when he walks down the sidewalk, his weight destroys the sidewalk and he's tripping. [It's all about] the humanization of these kinds of superhero characters, showing the effects physics may actually have on [them]."[59] Tom Woodruff, Jr. of Amalgamated Dynamics (who created all the costumes for the Alien films since Alien 3) was in negotiations, and created two busts of the Hulk and prosthetic hands to act as stand-ins for the character. However, a full animatronic was never created as it was decided it would complicate production to set up shots for a puppet and then a computer graphic.[60] An animatronic was used for Sterns' mutating head though.[46]
Destruction was mostly done practically. A model of a bottling machine was smashed through a wall for when the Hulk escapes with the factory. The filmmakers used steam and dry ice for the gas used to smoke out the Hulk, and they destroyed a real Humvee by dropping a weight on it when shooting the Culver University battle. Pipes blew fire for when the Hulk strikes down the computer-generated helicopter. When Banner falls from the helicopter to trigger the Hulk into fighting the Abomination, Norton was attached to a surface held by a bar which turned 90 degrees while the camera was pulled to the ceiling to simulate falling. Leterrier felt making Norton fall that distance would render him unable to act.[21]
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