#Lord of rings creature software
#Lord of rings creature tv

“And then I remember Peter wanted us to come up with an effect for when they’re released from their bond, and so we tried several different ideas of how they might dissolve and break up and float away until we hit on the one that he liked.

But again, our compositor spent a lot of time manipulating the images, popping the highlights here and there to make sure they still had that feeling of glowing and adding a little bit more contrast in the daylight scenes, that kind of thing.

“There was some difficulty in having them in daylight, because glowing things work better in dark caves than they do out in the sunlight. We played with that timing a lot to get something that still felt like they were running, but running in their own dimension that was allowing them to go faster than a normal run, and you get that ghostly kind of floating that goes with it. We did work with that for a little while, because sometimes that could just look wrong, it could just look like things slipping. They were sort of running, but you needed them to be ghost-like, so they had a floatiness on top of it. There actually wasn’t a lot of room to float around so much because there were so many of them, but out in the battlefield, something more fluid was the idea. “As for how they move, in the caves, you’re seeing them awakening for the first time. He just sort of brought that out in a few different stages until you just saw them swarming and taking over everything. So Peter was actually very judicious in how and when he deployed them you’ll see he kind of saves them for the end and uses them for the big payoff when you sort of already expect them to win. The way Tolkien writes it is they’re kind of invincible, and that doesn’t make for much of a battle when they’re just going through everything. “One of the big things we had to deal with was the battle itself. One was obviously the look of them when you saw them, and that was just some great makeup, and then we treated the imagery to give you that look, especially on the king. The King of the Mountains and the Dead Men of Dunharrow. You’d see them in a wide shot, and then you weren’t paying attention so much to the scale of the riders or the feathers, but when you went in for the blue-screen shots where you saw the riders who were on the buck we use to put the bird underneath them, that’s when we would kind of adjust the size.” “We would scale the feathers down so they looked more correct to the riders, because you never saw both, really.

But when you put the riders on their back for those close-up shots, those really big feathers looked out of place. If you scaled them down and made more feathers then it wouldn’t look like an eagle anymore. We would bring the size of the feathers down because they’re big birds, and if you see them in a wide shot- you expect them to look like eagles, but if you think about that, it means they’ve got these really huge feathers. “I think the only time we cheated that was on the close-up shots where you saw riding on their backs. Gandalf (Ian McKellen) atop one of the eagles. We tried to be as faithful as possible, and then really just scaled the whole thing up. “Because they were eagles, we followed real birds as much as possible the layout of the feathers, the guide feathers, the tail feathers, the way it’s all layered, from the beak and around the eyes and back onto the neck. There was a lot of just going in and fixing everything by hand to make sure that all the feathers layered properly. In those days, you really couldn’t, so we had to guide it a little bit more by hand.

#Lord of rings creature software

We’ve gotten better at the software that we need to do that and computers have gotten a lot faster so we can rely on them more. You need to lay out all the feathers and let the computer run through all the calculations of what piece is colliding with what other piece. “To really do it properly, you need to just run big simulations.

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#Lord of rings creature tv

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