apparent that we would need a lot more performance out of the Thug's face. It was up to our animation team to go in and add full facial animation (with some last minute adjustments to the facial rig) to a slew of shots. Jeremy and the team would carefully look at the actors facial performance, taking cues from both him and from the body animation they created for the Thug...and with small eye darts, blinks, nostril flares, scrunches, twitches, massage that character into the Thug. It was very important for Pete that the Thug could not only smash things but also emote. After we had the new animation, we needed to create some new lighting adjustments to add internal helmet lights. It became a balancing act of art direction between animation, lighting and comp to find the right mix of performance, light and visibility for each shot. Lighting provided separate key, fill and ambient lights as well as interior helmet lights which could be dialed in on a per-shot basis to get the best mix of reading the facial feature while keeping the Thug looking mysterious behind the visor. How did you create the breath and condensation effects? This was one of those things that we started experimenting with early on and Pete ended up liking it so much it ended up in pretty near every shot. Sometimes together with the body animation we could use this to help show emotion and character, and at other times it simply became