Updating the movies to the next level of high definition had unintended consequences that negatively impacted the iconic trilogy's visual aesthetic. Shortly thereafter, Jackson and company returned to Middle Earth armed with new filmmaking tools in their arsenal to create The Hobbit movie trilogy, which failed to meet the high expectations of its predecessor. In , Jackson and his team to return to their original opus and give it a definitive polish that would make the late great Rings cinematographer Andrew Lesnie proud.
Lesnie's work on the original trilogy was a major component in its success. His is the eye through which audiences saw Middle Earth: Lesnie turned the sweeping landscapes of New Zealand into the varied, and evocative, terrain of the Fellowship's odyssey — even his dark, cavernous underground sequences make careful use of light and shadow.
The result of his and Jackson's attention to detail is a franchise brimming with iconic images, from vast wide shots to intimate close-ups, working in tandem with brilliant performances and a wonderful score to capture the fantastical world. The original Blu-Ray experience hardly did Lesnie's vision justice.
Though the extended editions offered oodles of additional LOTR content , the remastering process used for the movies resulted in an infamous greenish-blue tint thrown over practically the entire runtime.
This change in color timing proved jarring for many fans who were distracted by oddly-colored skies, spider veins on actors, and off-color darks and lights which were truer blacks and whites in their initial theatrical release. Yet, nearly two decades after their premier, the Lord of the Rings movies needed an update: the sharpness of image quality, or lack thereof, began to show the series' age, especially when compared against the more recent Hobbit films and the other fantasy films inspired by the original trilogy.
Armed with modern tools that provided meticulous control over every visual component, Peter Jackson began the restoration process. In remastering the footage, Jackson and his team returned to the original 35mm film negatives and scanned them with greater fidelity afforded to them by today's technology, creating a higher-resolution intermediate with which to work.
From there, they used digital color grading to create the most desirable image possible, carefully balancing contrast and expanding dynamic range. The result? If they are too close to the lens, the whole insect shows up as blurred. Over greater distances, insects are simply not visible in the image.
I admit I had a hard time with some of the objects in the gallery. Some of the objects marked with an arrow in the hi-res pics, could possibly be insects. I cannot always be totally sure here. But the insects that are clearly insects, have not been marked.
In the below gallery you see some of the insects from my photos. They are obvious insects and not unidentified flying objects. You should know that I made a great effort to not bother you with insects in the gallery. If you think some of the objects are insects, please let me know and drop a comment.
This photo archive is actually third edition, since this is third and last time I go through all the photos. It was first made on my old blog UFO pictures and photos , a Blogger blog. Then I made it again entirely from the bottom in a Danish version, evaluating all the pics again and chosing objects to show. Finally I decided to have a real website instaed of my old Blogger blog.
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