Sims were then run "on all the targets which would be discrete beads floating around on top of the surface which would have its own set of parameters," said Goodwin. In the modeling and animation aspect of the liquid geometry, Goodwin explained, "We had to develop a pipeline polygon count to something usable what we would then do-you would take the model in whatever way it was made and just scatter discrete points onto it, and extract the matrix onto the animation and copy these points onto the matrix and have these sparse points behaving in a way that the model would." After the animation, artists duplicated the beads onto the animated geometry for a pre-simulated lighting version to get approval on how the object would read. Unless the action is so over the top, like in the end where Superman is beating up Zod-we had to break it a bit." A lot of the rules are the Battlestar Galactica rules for the space cams that Garry Hurtzel developed for that miniseries, where we want to make sure if we're translating the camera at all it makes sense. "So for a lot of the previs we did, we’d start to think where our cameras were and where our cameraman was. "We had to think about what that would mean, since we also had to photograph some crazy action," said Desjardin. Zack Snyder wanted the film to "appear very natural because there’s some very fantastical things in there and he wanted people to suspend their disbelief, and we the visual effects team had to make it as easy as possible for them to do so." Desjardin noted that the intent in shooting the film was to utilize handheld devices to make the film feel like a " documentary-style" film. John "DJ" Desjardin served as the visual supervisor for Man of Steel, with Weta Digital, MPC, and Double Negative providing the visual effects for the film.