[TheHutt]

А вот оригинал:

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Our movie has to deal with scales.

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l mean height--
People are different heights.

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One of the important things
is just the relationship...

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...of Hobbits to humans,
and that all has to do with size.

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ln terms of visual effects,
it was going to be a huge part...

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...of selling the visuals.

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Okay, Kiran, we're ready
for a rehearsal.

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Andrew and Peter experimented
with angles and eye lines...

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...in preproduction to figure out what
angles they'd use and how to light it.

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Obviously you wanna use a technique
that sells the scale...

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...but you want the quickest ways
to do it often...

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...that don't destroy that illusion.

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All you need is reference
to something of a different size...

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...and that gives you your scale.

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We did preproduction tests.
We staged shoots...

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...where we picked scenes from inside
of the Prancing Pony...

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...and we had big sets and small sets
so we had the different scales.

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Someone played Frodo, and we would
be staging these different looks...

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...and we would be experimenting with
different lighting and depth of field.

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We'd try out techniques
to work out what worked...

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...and what didn't so that by the time
we started principal photography...

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...we wouldn't waste
the cast's performance.

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Peter came to us
with these still photos...

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...to show us what he was thinking
in terms of shots...

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...that featured regular statures and
Hobbits, how you could match eye lines...

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...what looked good and did not.

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Would actors of normal stature
look ridiculous?

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Should their heads be bigger? Would
furry feet work? All those things.

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So that work was to make sure
we weren't crazy...

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...to do it the way we were thinking.

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This is the Hobbit-size bar
of the Prancing Pony.

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Weta Workshop was working on:

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What's the physical way we're gonna
achieve this to do it in camera?

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And Weta Digital was working on:

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How are we going to shoot elements we
can manipulate and create the effect?

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A traditional technique used for years
is forced perspective:

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lf you have two people
and want to make one look smaller...

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...you take one further away
from the camera.

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The camera sees somebody close
at one height...

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...and somebody further away
is smaller.

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Now the forced perspective technique...

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...is based upon a camera
being static...

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...restricted to movements
of pan and tilt only.

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l did give a talk to the crew
about a week before they started...

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...about forced perspective
and how it works.

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As long as l stay behind it, like this...

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...l would appear to be
behind the same thing...

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...that Lisa is sitting on.

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There's still a sort
of wonderful immediacy...

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...about forced perspective because
you got it all in the camera.

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The difference between a Hobbit
and a human, it's like .75.

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lf you invert that, a person needs
to be one and a third times...

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...further away than what they would
have to be if they were a Hobbit.

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So if you wanted Frodo and Gandalf
to be standing side by side...

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...and they're 1 0 feet from the camera,
then you'd put Frodo...

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...one and a third times
further away.

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We also used a lot of duplicate
set work and prop work...

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...for different scales of people
to act against.

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We really just used a slide rule and
scaled up and scaled down accordingly.

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Some examples of this
are Bag End interior.

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We built two versions of the same set,
exact replicas of each other...

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...at two scales.

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A large-size scale for lan Holm
to appear in, and a small scale...

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...a Hobbit-size scale,
for lan McKellen to walk through.

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Primarily on the small set, we had
to spend days and days filming...

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...in what was like a submarine.
lt was that crammed and that small.

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Everything we did almost, had to
have several scales to accommodate...

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...and make this illusion come across.

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Every book in Bag End,
every parchment, every prop...

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...had to be built and
replicated at two different sizes.

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You would build Gandalf's cart
in two different scales...

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...and also had a forced perspective
split rig on it...

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...so you could get Gandalf and Frodo
sitting side by side.

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Although Elijah was sitting
much further back than Gandalf...

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...and you pull the illusion off
by how you stage the scene.

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Whatever you did, you've been officially
labeled a disturber of the peace.

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Oh, really?

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ln our forced perspective shots, we've
moved the camera for the first time.

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They always required the camera
to be locked off:

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Once you moved the camera
it would give away the illusion...

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...when you want them to look
like they're side by side.

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ln order to move the camera, we started
thinking about using motion control...

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...in order to do what we call
moving forced perspective shots...

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...using slave motion control bases.

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With this technique, you have
one actor on a moving platform.

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When the camera moves,
you're doing your moves all relative.

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So you're literally sliding the guy
along the floor...

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...as your camera is moving along.

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You have the camera on a motion
control dolly, making it move.

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But another smaller dolly
is electronically hooked to it...

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...and does the same motion,
but in a countermovement.

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Every time you move one way
on one dolly, the other one responds.

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When you're viewing it,
you're doing a split.

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When you do this, it looks like
they move in synch with each other.

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Because you're moving the two guys
around relative to this camera.

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ln the shot where Frodo is pouring tea
for Gandalf at a table...

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...the camera crabs past from one
side of the table to the other side.

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lan McKellen was sitting on a dolly
that was moving him slightly...

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...on a small-scale table
with small-scale props.

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lt was not too far
from a full-size table...