Who is the photographer of the film The Lord of the Rings? Introduce it in detail. Thank you.

Meeting andrew lesnie may not be as exciting as meeting a superstar, but he is the champion of "King Kong" and "Lord of the Rings" series. Visiting him may gain more knowledge than attending a film class. This kind of opportunity is really not often encountered.

Q: After filming King Kong, what have you been paying attention to recently, and will you continue to cooperate with Peter Jackson?

Andrew: My recent job is mainly shooting advertisements. Photography gave me the opportunity to travel around the world. I often travel to Australia, New Zealand, the United States and Canada. As for the movie, I still haven't seen the script I'm interested in, so I don't know when to make another movie. As far as I know, so is Peter Jackson. He won't start shooting this year, but other trends are not clear.

Q: I am lucky to meet you here today, because I know that you introduced the post-production of using computer software to process pictures. In the past, when shooting with traditional 35mm film, photographers needed to pay great attention to the lighting and color of the shooting scene. Now that post-production is assisted by computers, does it mean that the role of photographers is gradually weakening?

Andrew: Theoretically, the technology of computer software now allows us to easily change the hue, light, shadow and even the skin color of actors at will, which is almost omnipotent. So I think that compared with the previous generation photographers who used to shoot movies with 35mm, the requirement of being a photographer now can be said that it is not necessary to pursue perfection as before, but to have basic skills. It's hard to say whether it's a good thing or a bad thing. Whether the photographer's role will be diluted or not can't be generalized, because it actually depends on whether the film producer attaches importance to your major.

Q: Have you ever experienced similar role conflicts in your own filming experience?

Andrew: I've met it myself, and so have some filmmakers I know. I am a filmmaker, and now I see with my own eyes that computer technology has brought revolutionary changes to the film industry to varying degrees. Actually, it's not too difficult to adapt. Working with different directors or filmmakers will be different. The most common controversy I know at present is that the authority of photographers has been weakened, because the introduction of a large number of new technologies means the emergence of a new producer class. For example, the post-production process of pictures will be taken care of by a new colorist. In the past, as a photographer, it was understandable to accurately calculate the light, shadow and tone of the scene, but now you can use post-remedy. But the problem is that colorists will resist photographers from adding opinions from the side because of their professional roles. When the photographer is not satisfied with the effect, sometimes he can only give advice to the director and producer but can't participate in the production process. Another problem is that in the past, the position of photographers was considered to be respected, but now with computer technology, some producers will try their best to shorten the time for photographers to participate in the work because they want to save money and other budgetary problems. This situation has indeed led to more and more disputes among photographers, post-producers and producers, which is also a disaster for me personally. At present, many investors and producers don't understand the importance of photographers, because I think photographers, as the director's right-hand man, used to be the "eyes" of the whole movie and must follow the whole process and later stage of shooting. If the photographer can only follow up half of the shooting process now, it is actually a shame for your professional vision.

Q: Peter Jason is also good at making special effects movies, which requires a lot of post-work. Won't working with him cause similar contradictions?

Andrew: "He and I are definitely an exception, because he has asked me to take charge of shooting and follow up all the post-processing together, so there is no problem at all." 」

Q: What do you think of the new trend of digital cameras?

Andrew; "It depends. I don't resist digital cameras. Before filming "King Kong", we once considered shooting in high definition and shot some test films, but Peter Jason and I were not completely satisfied with the effect, so we finally shot on film. I understand that the trend of HD is coming. I have tested many HD models myself, but the dynamic range performance of HD machines is still not as good as that of film. Under strong light, the film can still show a sense of layering far beyond HD. Another personal feeling is that shooting on the set with a high-definition camera often leads to wires all around and involves more technicians. In general, I like to shoot scenes with less equipment, the better, and I usually try to use less lights. For example, when I filmed The Lord of the Rings, I knew that many actors were very nervous when they were on the scene. If the studio environment can be as simple as possible, it will be very helpful for actors and staff to have more room for activities. As for the cost, in fact, shooting HD is not necessarily cheaper than shooting movies. As I said, high-definition technology involves hiring more different technicians, and it is still inconclusive whether the high-definition machine can play freely in different weather and environments, so I will wait until the performance of the high-definition machine is really better than filming, and then do high-definition in an all-round way.

Q: Are you a "traditional" photography festival?

Andrew: What is "tradition" is actually difficult to define. No matter how powerful the technology is, it is still a dead thing. How do you master these technologies and turn them into human art is the key. There are many different types of photographers, some like to play with colors, others like to play with light. In fact, I like everything myself, but I think what I care about most is how to express stories and express human nature through the lens. You will watch this year's Oscar nominated films such as Capote, Good Night and Good Luck, and even last year's Immortal Gardener. Actually, it doesn't matter whether you use digital or film. The most important thing about movies is to make people reflect on life, or to calm our hearts. 」

Q: Most movies that can make a lot of money at the box office now are 3D cartoons, or actions and special effects. Are you worried that the creativity of the new generation of filmmakers is becoming more and more single?

Andrew: "There is no need to be so pessimistic. In fact, in recent years, great changes have taken place in the world, and political, ecological and environmental problems are everywhere. The problems in the world will make more people reflect, and if many people reflect, the theme of the film will naturally find a gap to break through the box. I have taught many Australian part-time students myself, and I often remind them that in addition to understanding the knowledge of film photography, they should spend more time contacting different people and different arts to enrich their lives. My usual photography inspiration often comes from music, and the sense of rhythm cultivated by listening to music is very helpful for writing and shooting. If you have a rich spiritual life, no matter how high your skills are, you will be able to play better. 」

Biological imaging

1980 "comeback"

1983 "Station"

1984 "Fantasy Man"

1985 "Fair Game"

Unfinished business

Love if

1986 "cyclone Tracy"

Australian dream

1987 "The Dark Age"

1989 "Juvenile Delinquency"

Tribe

1990 "The Boy on the Island"

Shrimp on Barbie

199 1 the girl who is late

1993 The Temptation of Monks

Fatal past

1994 Spiders and Ants: Roses

1995 "Baby Piggy" (Beibei)

1996 "two ifs at sea"

1997 "serving a sentence for Patsy Cline"

1998 "Sugar Factory"

Babe: The pig in the city.

200 1 The Lord of the Rings episode: The Lord of the Rings appears.

(The Lord of the Rings: The Lord of the Rings: The Fellowship of the Ring)

The Lord of the Rings in 2002: Wonders of Twin Cities

(The Lord of the Rings: The Lord of the Rings: The Two Towers)

2003 The Lord of the Rings Trilogy: The Lord of the Rings: The Return of the King

(The Lord of the Rings: The Return of the King)

Brothers of Love in 2004

King Kong in 2005