For crowd scenes, CIS supplemented the live-action extras with digital pedestrians created using motion capture. House of Moves captured the movements of five men and four women during a two-day shoot supervised by Hancock. The motion capture performers were coached to make the "small, formal and refined" movements that Owens said reflected the general public's conduct at the time. CIS combined the motion data with the Massive software package to generate the interactions of the digital pedestrians. The use of Massive presented a challenge when it came to blending digital pedestrians with live-action extras who had to move from the foreground into the digital crowd. Massive worked well until this stage, when the effects team had to move the digital pedestrians to avoid taking the live-action extras out of the shot. To allow close-ups of individual Massive extras, the effects team focused on their faces and walking characteristics. Hancock explained, "We wanted to be able to push Massive right up to the camera and see how well it held up. In a couple of shots the characters might be 40 feet away from the camera, about 1/5 screen height. The bigger the screen is, the bigger the character. He could be 10 feet tall, so everything, even his hair, better look good!" Typically, a limited number of motion performances are captured and Massive is used to create further variety, such as in height and walking speed. Because the digital extras were required to be close to the foreground, and to integrate them properly with the live action extras, House of Moves captured twice as much motion data than CIS had used on any other project. CIS created nine distinct digital characters. To eliminate inaccuracies that develop when creating a digital extra of different proportions to the motion capture performer, CIS sent nine skeleton rigs to House of Moves before work began. This gave House of Moves time to properly adapt the rigs to its performers, resulting in motion capture data that required very little editing in Massive. CIS wrote shaders for their clothing; displacement maps in the air shader were linked with the motion capture to animate wrinkles in trousers and jackets.