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RIP Andrew Lesnie


Faleel

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The LOTR movies look good. The Hobbit movies look like hazy digital video. I pin that blame on PJ though.

I watched a movie photographed by Lesnie the other night called The Water Diviner. For a WWI movie, it was vibrant and colourful.

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Yeah. The awful look that came with the Hobbit films, especially by the third film is due to post-production processing at WETA and PJ tinkering. Not Lesnie's direction.

You can see his cinematography shine most in the first film, especially in that first teaser:

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Hopefully this will lead to a reappraisal of his splendid work on The Hobbit films. Too often bashed by the PJ haters.

RIP, Mr. Lesnie. But do you really think the guy would want THAT as lasting part of his legacy? 80% of it was done in a computer.

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ANDREW LESNIE (1956- 2015)

A round-robin message from Peter Hambleton (Gloin in "The Hobbit") to the other dwarves plus a wizard has just delivered the appalling news of Andrew Lesnie’s death.

We first met on the first day’s shooting of "The Lord of the Rings" 15 years ago. Andrew was the indispensable director of photography who worked, with ne’er a cross word, at the heart of Peter Jackson’s creative team. He was a master of the new technologies that climaxed with the 3D Hobbit movies but his artistry was as personal and inspired as a painter in oils, magically capturing light and spreading it over landscapes wild and domestic and across the actors’ faces too. If you liked the look of Middle-earth, know that it couldn't have been as it was without Andrew’s special expertise.

What his hard work cost him, it was impossible to tell because his merry spirit informed every minute on set. I never heard the whisper of a complaint, in a draughty studio, or battling the elements on location. He always had time for a laugh and a hug of encouragement. He was lovable.

He is irreplaceable.

Ian McKellen, London, 28 April 2015

https://www.facebook.com/ianmckellen/posts/10152831243398601

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It's times like this that you come to realize how much the LOTR SE behind-the-scenes documentaries made you feel like you knew these people. I spent hours with this guy, and we never even met. I spent even more hours watching his work, and it's disheartening to think we'll never see any more of it.

Thank you, Mr. Lesnie.

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Why not share the words and link directly to the post?

Being an only child, I grew up wondering what it would be like to have a brother. It wasn’t until today, in trying to deal with the terrible news of Andrew's passing, that I came to realise how much he had become that person for me - someone I could intrinsically love and trust - which I know now means someone who is up for all the good and the bad. Andrew was an irreplaceable part of my family and I am in total disbelief that I’ll never again hear his infectious laugh, nor benefit from his quiet wisdom, or enjoy his generous praise. Andrew created unforgettable, beautiful images on screen, and he did this time and again, because he only ever served what he believed in - he was his own artist, separate from me, but always working generously to make what we were trying to create together better. On set we developed an ability to work together using a minimum of words - a rare meeting of minds. I will always remember turning up, countless times, at five in the morning - all those quiet moments I had with him when I could step on to set and know he was there - unfazed, ready, listening, interested, more importantly - ready to catch me if I faltered. He always had my back. The more anxious I became, the more calm he would be. A solid rock in the unpredictable world we both chose to work in. After 17 years and 8 movies together, the loss of Andrew is very hard to bear.

My heart goes out to Jack and Sam, of whom he was enormously proud and to Marce, who gave him so much happiness.

Dearest Andrew, you never sought nor wanted praise - you never needed to hear how good you were, you only ever cared about doing great work and respecting the work of others. But on behalf of all those who were lucky enough to collaborate with you, love you and in turn, respect your mastery of story, of light and of cinema magic - you are one of the great cinematographers of our time.

Rest in Peace, my friend.

Arohanui,

Pete

https://www.facebook.com/notes/peter-jackson/for-andrew-lesnie/10153154375646558

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It's times like this that you come to realize how much the LOTR SE behind-the-scenes documentaries made you feel like you knew these people. I spent hours with this guy, and we never even met. I spent even more hours watching his work, and it's disheartening to think we'll never see any more of it.

Indeed!

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It's times like this that you come to realize how much the LOTR SE behind-the-scenes documentaries made you feel like you knew these people. I spent hours with this guy, and we never even met. I spent even more hours watching his work, and it's disheartening to think we'll never see any more of it.

Indeed!

Indeed indeed!

Karol

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The LOTR movies look good. The Hobbit movies look like hazy digital video. I pin that blame on PJ though.

I watched a movie photographed by Lesnie the other night called The Water Diviner. For a WWI movie, it was vibrant and colourful.

That's because they were. Some filmmakers take advantage of the Red Epic camera to the full potential, while others just abuse it. I agree with an earlier post that Lesnie's work on the first Hobbit was beautiful, while the last two were filtered and color corrected far too much.

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The LOTR movies look good. The Hobbit movies look like hazy digital video. I pin that blame on PJ though.

I watched a movie photographed by Lesnie the other night called The Water Diviner. For a WWI movie, it was vibrant and colourful.

That's because they were. Some filmmakers take advantage of the Red Epic camera to the full potential, while others just abuse it. I agree with an earlier post that Lesnie's work on the first Hobbit was beautiful, while the last two were filtered and color corrected far too much.

Yeah Prometheus looked fine. Actually I couldn't distinguish it from film in the cinema.

I've generally found that most films I've seen shot with the Arri Alexa to be excellent looking with very film-like quality and dynamic range.

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The LOTR movies look good. The Hobbit movies look like hazy digital video. I pin that blame on PJ though.

I watched a movie photographed by Lesnie the other night called The Water Diviner. For a WWI movie, it was vibrant and colourful.

That's because they were. Some filmmakers take advantage of the Red Epic camera to the full potential, while others just abuse it. I agree with an earlier post that Lesnie's work on the first Hobbit was beautiful, while the last two were filtered and color corrected far too much.

Yeah Prometheus looked fine. Actually I couldn't distinguish it from film in the cinema.

I've generally found that most films I've seen shot with the Arri Alexa to be excellent looking with very film-like quality and dynamic range.

There was a UK TV show, Hit & Miss, which had amazing camerawork. I was surprised it was shot on the Alexa, but that camera is so much better at providing a more film-like image. With the Red camera systems, it can vary wildly depending on the people handling it.

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A false feeling of familiarity, based on nothing of actual substance.

Like feeling you know people on this forum while you really don't.

A feeling of familiarity nonetheless. And sadness and regret now as a result. (For some of us, at least. . . .)

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A false feeling of familiarity, based on nothing of actual substance.

Like feeling you know people on this forum while you really don't.

You must be the life of the party at funerals.
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Hopefully this will lead to a reappraisal of his splendid work on The Hobbit films. Too often bashed by the PJ haters.

RIP, Mr. Lesnie. But do you really think the guy would want THAT as lasting part of his legacy? 80% of it was done in a computer.

There isn't a shot in "LOTR" that isn't graded digitally, or altered in a computer, in some way, I am sure that Mr. Lesnie would not want it like that. That being said, he came from a long line of very good Aussie cinamatographers, including Dean Semler, John Seale, and Russell Boyd.

RIP.

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Sure, they used digital grading in LOTR. And I doubt that Lesnie minded all that much at the time; it was a newer technology, and it was used reasonably in order to enhance, to augment, to create atmosphere and cover the blur lines in the effects at times.

In the Hobbit films, however . . . they drowned everything in it. Middle Earth no longer felt like any kind of Earth we recognized, which was a major change from the previous trilogy. They went overboard, and Lesnie's brilliance was dampened by it.

When used well, digital grading makes for an excellent tool. It's kinda like makeup. It's meant to enhance beauty, not create it from scratch. When it's used well, it's like the DG in LOTR—making the beauty more beautiful:

12215149_6384.jpg

In the Hobbit films . . . not so much so:

19214289-134a-4985-aedd-07b152e171b4.jpg

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I didn't say anything concerning how he felt about the Hobbit films. I spoke concerning how I felt about the Hobbit films.

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  • 4 years later...

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