Archive notice: This article was originally published on June 30, 2008. Links and embedded videos are preserved as part of the historical record.
According to the award-winning visual-effects and character-animation studio, it integrated BodyPaint 3D into its production pipeline to meet the growing demand for realistic and complex textures.
Based on the Marvel superhero comics by Stan Lee and Jack Kirby, the film tells the story of scientist Bruce Banner, who was exposed to radiation in an accident. Since then, every burst of anger transforms him into the Hulk. While producing the complex effects, the R&H specialists were particularly impressed by BodyPaint 3D’s speed and intuitive operation. In total, R&H worked on 234 scenes in the film. A team of eight texture artists used MAXON’s BodyPaint 3D for characters such as the Hulk himself and his opponent Abomination, as well as for countless buildings and environments.
“We have no choice but to always use the best software so that we can meet growing demands quickly and efficiently, and BodyPaint 3D is number one,” said Technical Support Supervisor David Perkins.
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The R&H pipeline consists of a healthy mix of standard software and proprietary developments. According to Sarah Kym, one of the lead texture artists, 3D-painting software must be adaptable: “BodyPaint 3D’s tools allowed us to work much more efficiently. The clone tool, the ability to hide objects to gain better access to particularly tricky areas, the use of multiple cameras, and the various layer effects are just a few examples I can mention. Naturally, I am pleased when a new tool allows me to complete tasks in half the time previously required.”
BodyPaint 3D’s interactive real-time capabilities in particular proved indispensable when depicting Bruce Banner’s transformation into the Hulk. For this critical transformation sequence, so-called MIGs (Muscle Influence Groups) were created in BodyPaint 3D. These gave the lighting artists and animators optimal control over how the muscles moved beneath the Hulk’s skin. Sarah Kym explained: “Each material group consisted of several maps, with each group in turn influencing small sections of the musculature.
In addition, the whole setup naturally had to work across several materials. All in all, it was like a crazy puzzle because everything had to fit together as perfectly as possible so that we did not end up with twisted muscles. I then stacked 10 to 15 maps as layers in BodyPaint 3D and tested different combinations. I was really glad to be able to keep all of them available at the same time. I was actually waiting for BodyPaint 3D to crash at some point, but it simply never happened!”
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In addition to the Hulk himself, a wide range of other scenes were also processed with the help of BodyPaint 3D. In one scene, for example, the Hulk comes under heavy fire while both he and Abomination demolish nearby cars during their fight. This required different kinds of “damage” on the Hulk’s body, including wounds, dirt and scratches.
Aaron Skillman, one of R&H’s lead texture painters, explained: “With BodyPaint 3D, we were able to project all the reference maps onto the model and then paint the desired damage even in difficult areas.” The destruction of a Humvee or a motorcycle presented a further special challenge. “These 3D models were extremely detailed,” Skillman said, “but BodyPaint 3D was able to manage all the required maps, each at 4K resolution, without difficulty.”
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“The artists at Rhythm & Hues did outstanding work and delivered many of the film’s key visual elements,” said Paul Babb, Managing Director of MAXON’s US subsidiary. “Rhythm & Hues’ positive experience with BodyPaint 3D once again underscores that MAXON is supplying the industry with the right tools.”
MAXON BodyPaint 3D had been an integral part of the Rhythm & Hues pipeline for the previous 18 months. The production of Hulk was a milestone in the software’s integration. At the time, the studio was using BodyPaint 3D on various film productions including “The Mummy 3,” “They Came From Upstairs,” “The Fast and the Furious 4” and “Land of the Lost.” MAXON’s CINEMA 4D with the Projection Man tool was also being tested to simplify and improve the efficiency of creating digital environments.
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