by Simon Gray
An
integral component in The Lord of the Rings trilogy has
been the production's miniatures unit. Located in an inconspicuous
building in Rongotai, a suburb of Wellington, and led by Academy Award-winning
visual-effects cinematographer Alex Funke, the miniatures unit
shot for more than 900 days on the epic production.
"Peter
Jackson always intended miniature photography to be the means
by which a lot of the large environments, such as the stairs
of Khazad-Dum, would be created," says Funke. "It was
simply not feasible to build the stairs as an entire live-action
set. Also, while it was possible to transform many of New
Zealand's
natural locations into Lothlorien, Mordor or Fangorn Forest, they were always going to need extra elements,
such as set extensions, to make them totally believable as parts
of Middle-Earth. Miniature photography is a great way to accomplish
this. Miniature sets can be fully detailed by our model technicians
directly to camera, and fine adjustments are interactive, quick
and simple."
Funke
believes that miniature photography also lends visual effects
a distinctive sense of realism. "At some subconscious level,
viewers can tell when they're seeing real photography," he
remarks. "So in the interest of telling a believable story,
the more actual camera elements you have, the better. That's
the basis of Peter's brief: to use the maximum number of photographic
elements."
From
the commencement of principal photography in October 1999, the
trilogy's director of photography, Andrew Lesnie, ACS, worked
closely with the miniatures unit to establish the lighting styles
that would run throughout the films. "We sat down with Andrew
regularly and went through the general approaches to scenes,
detailing the key-to-fill ratio, colors used, contrast, texture
of the light and so forth," explains Funke. "We constantly
and carefully referenced what he was doing on set or on location
in order to match our photography to his. We were lucky to have
Dave Brown, the first-unit gaffer, as our information pipeline;
he kept a concise record of everything that was shot, which he
passed on to us. Our other main source was the art department,
in particular the paintings and drawings of Alan Lee and Jeremy
Bennett. They painted virtually every shot. It was a wonderful
treat to be involved in a film that was so beautifully art-directed,
and that had so many production illustrations. It made our lives
much easier."
Funke
says the miniatures unit's shots were obtained in several ways: "Some
of our shots were driven by 'Tech-B,' in which a live shot was
exactly tracked and the motion-control move file was sent to
us for matching on the miniature set. Other shots we matched
visually from animated previsualization scenes. For the 'mini-leads,'
each shot was initially planned out with the aid of a handheld
video camera, with the key positions of the camera move established
by markers placed on the set." Adds motion-control operator
Henk Prins, "It's basically the same approach as animation
key frames. Each marker represents a specific point in the shot,
with the space between the markers representing a certain number
of frames. We then go through the move slowly to find out what
the obstacles might be, and to readjust the key markers as necessary.
In effect, this adds or removes frames. Then it's simply a matter
of refining the shot. The process is quite tricky, because there's
often no physical latitude - the lenses are almost touching the
walls of the set."
The
miniatures unit used seven cameras: three Fries Mitchells; Funke's
own rackover Mitchell, which was linked to a 'Thing-M' camera
controller; and three of the new Arri 435-Advanced motion-control
cameras. "The Mitchells have been the mainstay of motion
control for many years," says Funke, "but since the
middle of The Fellowship, we've also been using the Arri Advanced,
which is a fantastic camera for motion control. For years, various
filmmakers have tried to convince Arri to turn the 435 into a
motion-control camera, and I'm happy to say we were the ones
who finally got them to do it. We worked closely with Arri to
solve the problem of the camera's separate motors on the shutter
and the movement, which previously prohibited it from running
at motion-control speeds. Fortunately, we have a great in-house
electronics engineer, Chris Davison, who was able to test the
camera and work with Arri to get it up to speed, so to speak.
The Arri's swingover viewfinder let us look through the camera
even in the most awkward of setups, which is a godsend for miniatures
work. I think it's the ultimate effects camera.
"For
lenses, we used a Praxis snorkel, which is wonderfully sharp,
and a Revolution snorkel, another great piece of equipment. The
Revolution can roll the image optically, which came in handy
for a lot of the flying shots on Minas Tirith and other sets."
Funke
notes that "a lot of very clever people worked in the miniatures
unit on this project. One effect of this was that we significantly
streamlined our referencing passes. The digital folks always
want to have color references, which we used to shoot on flat
color charts. That was a bit time-consuming because we had to
point the chart toward the key, then the fill, and so on. One
day, Alastair Maher, our master painter, came up with the idea
of painting some balls with the exact colors from the chart.
The gray ball gave the digital boys the nature of the shadow
transition, while the six colored ones provided a three-dimensional
color chart that had the key and the fill at the same time. It's
a handy innovation that worked beautifully."
One
of the most heavily used miniature sets in Return of the King is
the Gondorian city of Minas
Tirith,
the centerpiece of a huge battle. Constructed in 1/72 scale,
the buildings of Minas Tirith were initially built to be filmed
in long shots only. "The first time Peter saw it, he said,
'That's a great set. We need to do some vertiginous, Star Wars-style
trench shots,'" Funke recalls with a laugh. "Minas
Tirith had never been designed to be shot from the back or in
close-up, let alone in shots where the lens is virtually scraping
the paint! So we had to go through the whole set and rebuild
all the buildings, streets and so forth with much more detail.
A good example of the type of shots Peter likes is one in which
the camera follows a fell-beast with a Nazgul rider on it as
it careens over the city streets. The camera then cuts around
180 degrees and flies backward, in front of the fell-beast. We
used the Revolution snorkel for a lot of the shots down the narrow
Minas Tirith streets, because we could roll and bank while we
flew between the buildings."
For
reasons of practicality, many sets had different sections constructed
in multiple scales. "Sauron's tower of Barad-Dur, the main part of which is 1/166 scale, is a
good example of using multiple scales," says Funke. "Peter
wanted to have the camera skim over the bridge and the heads
of the marching orc army. It was physically impossible to get
the lens in that close with the 1/166-scale set, so we had to
build a larger-scale version of the bridge, which was shot separately
and then combined digitally with the rest of the set. It's very
common to combine different scales in this manner. A huge amount
of Minas Tirith uses a mixture of 1/72 and 1/14 scale, while
a few special set pieces are 1/35. Minas Morgul was shot in 1/40
and 1/120 scale, depending on how wide the shot was – 1/40 if
we were creeping across right in front of the gate, 1/120 if
we were supposed to be 500 meters above it. Helm's Deep, which
was 1/35 scale, was actually the 'proof of concept' set that
Peter had built to help sell the project all those years ago.
"Peter
wants to knock the audience's socks off with Return of the
King," says Funke. "He wants them to see things
they've never seen before. This film is enormous in terms of
both the emotional content and the action; everything is bigger,
wider and certainly more complex. This film has as many effects
shots as the first and second pictures combined. I believe that
this trilogy has given a shot in the arm to miniature photography.
If the audience is thinking about the process, then we've lost
them, and we've failed to do our jobs. We need to do the work,
then erase our tracks and disappear.
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