Apart from Andy Serkis' motion capture technology, The Lord of the Rings trilogy featured numerous visual effects.
One of the biggest challenges was handling size proportions, particularly in portraying the Hobbits, whose height differed significantly from that of humans.
From a visual effects perspective, the primary goal was to achieve realism.
"Alright, Kieran, let's do a rehearsal," Gilbert instructed.
For certain shots, cinematographer John Schwartzman had experimented with camera angles and actors' eye lines.
To determine the optimal angles and lighting techniques, Gilbert insisted that the methods used must achieve a realistic effect quickly and seamlessly, ensuring that these shots would not reveal any inconsistencies.
As long as the film could convincingly depict the differences in scale between characters, the issue of size proportion would be resolved.
Before filming began, the crew conducted extensive pre-production tests, such as building oversized props. By enlarging the set pieces, they could create the illusion of smaller characters.
This was an effective technique, and the crew employed it multiple times during filming.
For example, in the scenes set at the Prancing Pony Inn, where different-sized doubles were used, the team built separate sets to create the illusion of varying proportions.
By leveraging optical illusions, the crew tested several approaches before settling on the most effective method.
This way, when it came time for the actual shoot, the actors could follow the predetermined setup without unnecessary delays.
Another challenge was filming characters in the same frame. Ian McKellen stood at 1.80 meters (5'11"), while Elijah Wood was 1.68 meters (5'6").
The height difference helped, but not all actors had such a noticeable disparity. In cases where the difference was less pronounced, the crew devised several techniques.
One traditional approach relied on forced perspective.
If one character needed to appear smaller, they would be positioned farther from the camera, while the other would be placed closer. The person closer to the lens would appear larger, while the one farther away would seem smaller.
However, the key to using forced perspective was keeping the camera stationary—movement was restricted to simple pans or tilts.
Before filming, Gilbert, cinematographer John Schwartzman, and the visual effects engineers discussed his vision for these shots.
"Look here," Gilbert demonstrated. "I'm standing here, and Anna is over there. If I move further back, I appear to be the same size as her.
If I step back even further, I'll look smaller."
After a test shoot, John Schwartzman remarked, "This creates some imbalance in the composition. We'll need to refine the set design."
Gilbert agreed, adding, "The biggest advantage of forced perspective is that all elements remain within the frame, which is extremely beneficial for our shots."
The size ratio between humans and Hobbits was approximately 1:0.75, meaning that for a human to appear proportionally correct, they had to be positioned about 1.33 times farther from the camera than a Hobbit.
For a shot where Gandalf and Frodo stood together, if they were both ten feet from the camera, Frodo would need to be positioned about 13.3 feet away.
For the production design and props team, set dressing and scaled props were crucial.
They had to create different-sized versions of the same props and sets, scaling them up or down according to the required proportions.
Take Bag End's interior, for example—the art department built two identical but differently scaled versions of the set.
During filming, Elijah Wood acted in the full-scale Bag End, while Ian McKellen performed in the scaled-down version.
The smaller set resembled the cramped interior of a submarine. The crew had to squeeze into tight spaces every day during filming.
Props followed the same principle. In the smaller Bag End set, every item—from tables and chairs to the fireplace—was proportionally reduced in size.
Each book, parchment, and decorative piece inside Bag End had to be made in two different sizes to fit the corresponding set.
Even Gandalf's cart was built in two scales.
For filming, the seat on the cart was split into two separate sections, creating the illusion that Gandalf and Frodo were sitting side by side.
In reality, Elijah Wood performed from a position set farther back.
This arrangement effectively created the illusion of different sizes.
Many similar techniques were employed throughout the production. Before principal photography began, the crew conducted extensive test shoots to refine their methods, ensuring they would work seamlessly in the final film.
All these efforts were aimed at creating a sense of realism.
The meticulous professionalism and dedication of Hollywood filmmakers impressed the Chinese film professionals observing on set.
They were particularly surprised to see that Gilbert did not impose his authority on the set but instead actively listened to his team's suggestions.
One incident stood out as proof of this:
During the filming of the Mines of Moria scenes, a Chinese crew member made a useful suggestion.
Some nearby observers scoffed, saying, "These are Hollywood professionals—of course, they already know what they're doing. Do you really think they'd listen to your advice?"
However, Gilbert, who understood Chinese, overheard the suggestion. He immediately called for a test, and to everyone's surprise, the idea worked.
Without hesitation, Gilbert adopted the suggestion and shot the scene using the method proposed by the Chinese crew member.
This moment significantly boosted the enthusiasm of the Chinese staff. It became clear that, at least in Gilbert's crew, he was willing to listen to suggestions and showed no discrimination.
Later, people realized that it wasn't just Gilbert—the entire Lord of the Rings crew showed no signs of discrimination or looking down on the Chinese crew members.
On the contrary, whether it was due to Gilbert's influence or the fact that they were filming in China, these foreigners treated their Chinese colleagues with great friendliness.
In fact, within the art and props departments, the Chinese staff played an essential role and even received praise from Gilbert.
This distinction set the Lord of the Rings crew apart from Chinese film crews.
In Chinese productions, seniority and status dictated everything—until a person reached a certain rank, no one would listen to their opinions.
Of course, this wasn't an absolute rule.
Hollywood productions also had their share of hierarchical structures, just as some Chinese film crews treated their members with equal respect.
It was simply a matter of perspective—what one observed depended on where they stood. This didn't mean that Hollywood crews were inherently superior to Chinese film crews.
Producer Charles Roven once told Gilbert that, given equal qualifications, he found the Chinese crew members to be more efficient, more diligent, and better at enduring hardships than their Western counterparts.
Roven believed that in time, as the Chinese film industry continued to develop, the hardworking nature of the Chinese people would soon drive its rapid growth.
Gilbert simply smiled and remained noncommittal.
While diligence and talent were important, the reality was that industry growth was not decided by these dedicated professionals.
It was the top-level executives who ultimately determined the trajectory and development of an industry.
This was a universal truth, regardless of location. Hollywood was built on the expertise of countless skilled professionals.
But the industry's direction was dictated by the major players who controlled and dominated Hollywood.
Otherwise, the wave of political correctness in Western media wouldn't have become so prevalent—it was entirely the result of decisions made by those in power.
Beyond visual effects and specialized filming techniques, the production relied heavily on practical shots to capture breathtaking landscapes.
When watching the final cut, some audiences might even feel as though they were watching a promotional film for Chinese tourism.
In fact, Gilbert planned to highlight each filming location in the DVD release, allowing fans to explore them.
If any fans became interested and decided to visit China, it would also be a small contribution to the country's tourism industry.
Aside from the filming process, Gilbert was particularly focused on Howard Shore's progress with the film's score.
Perhaps due to time zone differences, Shore's team opted not to compose the score at their Los Angeles studio. Instead, they relocated to China to work closely with Gilbert throughout the process.
Howard Shore rented a studio in Beijing and partnered with the China Philharmonic Orchestra, which would be fully involved in recording the score.
The orchestra had formed slightly earlier than in the previous timeline, having been established in late 1998 under the administration of the state-owned Big Scissors organization.
After completing their spring tour, the China Philharmonic Orchestra joined Howard Shore's team to record the film's soundtrack.
The film's score played a crucial role in shaping the audience's emotions.
During filming, actors and directors worked hard to convey atmosphere and emotion. However, music had the unique ability to heighten and reinforce these feelings at just the right moments.
Gilbert requested that Howard Shore provide some early compositions so that the actors could listen to them and immerse themselves in the intended emotions.
He believed that hearing Shore's music would help the actors get into character more effectively.
And indeed, each scene was paired with a distinct piece of music, allowing the actors to experience the appropriate emotional tone and deliver stronger performances.
Even Orlando Bloom, whose acting skills were relatively weaker, found himself connecting with the emotions of the film when listening to the score, resulting in noticeable improvement as filming progressed.
This was the power of music—it didn't just draw audiences into the movie but also enhanced the quality of the actors' performances.
Of course, the composition process was still ongoing.
The soundtrack also included choral arrangements, with lyrics sung in English as well as extensive songs performed in Elvish.
For these recordings, professional singers from European ensembles were brought in, creating an enchanting sound that was truly immersive.