But there were some advantages in things like animation – you could get sharper movement than you could before, and it really helped with things like eye blinks, quick movements around the mouth, dialogue. Some types of work that had to be done by hand, such as paint touch-ups or painting out a wire rig, meant twice as much hand work. Well the biggest challenge for us was that we had to produce twice as many frames of film – there’s a lot more rendering that had to be done. What were the biggest challenges of working within the 48fps HFR? Goblin Town is a good example – we built a bit of that set, for any close-up shots of the dwarves and dialogue, right around the King’s throne for example, but then we would create the whole thing anyway as there some shots that were all CG, and the whole cavern around them was all CG. So all the wide shots of the sets were CG? Including all the stuff under the mountains such as the Goblin Town? If everything’s in the computer and digital you have more creative freedom. Well one of the reasons for going more CG on this as opposed to less on the original Lord Of The Rings was for example in the use of models and miniatures – we went more CG this time, and in fact we didn’t use any models or miniatures was dictated by the fact we were shooting in High Frame Rate, and it was easier for shot composition and shot design, editorial choices and the ability to experiment after the fact and try out new ideas in shots. What were the benefits of switching to this from the previous physical and tactile world? There seems to be a lot more CGI in The Hobbit compared to the Lord Of The Rings trilogy.
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