The Hobbit Film Analysis

Peter Jackson directed three films that is a part of The Hobbit trilogy. The films are called An Unexpected Journey, The Desolation of Smaug and There and Back Again. It is an adaption of the 1937 novel by J.R.R Tolkien’s The Hobbit. Jackson has also directed the prequel of The Hobbit films called the The Lord of the Rings (film series).

They filmed both trilogies in New Zealand. The Hobbit series is produced over three consecutive years. On the 14th of December 2012, the first film An Unexpected Journey was released, followed by The Desolation of Smaug on December 2013 and the last film of the series, There and Back Again on 17th of December 2014. The films distributed by Warner Bros. Studios and studios that were used for the films are New Line Cinema, Metro-Goldwyn-Mayer and WingNut Films. Originally, Peter Jackson wanted to produce only two films, however he later on declared that he will “tell more of the tale”, and thus announced that “two films will become three”.

One of the films most important and groundbreaking technology is the use of motion capture. Motion capture technology has the ability to capture more realistic eye movements. Special reflective markers are placed onto the actors, which are wearing tight suits. Cameras recognize these markers and therefore the movements of the actor can be recorded. The captured data that was recorded is transformed into a digital model and transferred to a 3D software which would show the characters moving exactly how the actors did when they were performing for the scene. The data is cleaned up and animators will bring the character to life, with movement, texture, skeleton and muscles. An advantage that is offered in motion capture is it is more rapid and producing the animate...

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...tongue, lip and jaw shape and fine control over his nostrils, eyes, brows and throat.

With reference to concept art, the models team began sculpting the beast and gave it a skeleton and muscle system. Smaug is centuries old so the texture on him are scars, flaking skin,broken scales and chipped horns. Given Smaug’s eyes glowing effect made it more dramatic and each of his million of scales are unique.

David Clayton discussed that “As animators we had to transpose the elements of Benedict’s performance that were critical to the shot, such as head nuances and facial expressions. We then built up the majority of his motion with key frame animation.” There were also some motion captures of Benedict Cumberbatch moving his body like the dragon, however they were not entirely put into the film but instead they were used as references for the Smaug’s body movements.