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But on film, creating a blue, glowing muscleman wasn't quite so easy. Lungs pushing up against a rib cage or a heart exploding or skin tearing, that all had to be simulated and react with each other. To capture Crudup's performance, animators painted his face with hundreds of black markers that allowed them to track his expressions through video, then used that data as a jumping-off point to hand-animate Manhattan's face. The lights stretched from Crudup's head, fitted with a light cap, down to specially built high-tops with blue LEDs in the soles, and even special gloves, leaving only his face and neck uncovered. They tasked Chris Gilman at Global Effects with building a lightweight, flexible motion-capture suit covered in pattern markers--"they looked like little Atari symbols all over his body," Travers says--that would allow animators to track the actor's movements via video rather than traditional infrared motion capture.
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Typically, motion capture is the basis for the movement of CG characters, but both DesJardin and Travers knew that wouldn't work in this case. The lights stretched from Crudup's head, fitted with a light cap, down to specially built high-tops with blue LEDs in the soles, and even special gloves, leaving only his face and neck uncovered. As animators were creating Manhattan's CG character, filming was occurring on Watchmen. Actor Billy Crudup had already been cast as Osterman. DesJardin urged Snyder to cast a body on which animators could base Manhattan's ultra-ripped physique.
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We put his head wherever Billy's head was in the frame. The animators next built muscular and skeletal layers, using Plitt's hi-def video as a reference for how those layers would interact with each other on a real human. The crew then 3D-digitized Crudup's head and "frankensteined Billy's head onto Greg's body," Travers says. Crudup's suit was also equipped with LEDs to create Manhattan's diffuse blue glow.
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