I’ve heard many people had trouble viewing the alternate ending on the official site, so I’ve gathered them together for ease of viewing in a different format. Hopefully they will work for you. Once you hit play you can choose full size HD.
aidan turner, balin, bilbo, dean o'gorman, dwarves, fili, full size, gandalf, graham mctavish, high res, hobbit trailer, ian mckellen, kili, martin freeman, news, photos, richard armitage, screencaps, thorin
Here are over 200 HD screenshots of the 2nd Hobbit trailer, as well as the alternate endings. Enjoy!
And Thorin is epic. Just have to say it.
You can view the new trailer on the apple.com site.
I have 45 minutes before I have to go to work, so this will be brief and massively dwarf centric (click images for high res). I’ll add a full gallery of HD shots from the trailer by tomorrow.
Just ignore my previous post. LOOK pretty pictures! Collider.com has a gallery with, yes, even more new images (click for high res).
Anyone know what time the Eagle Express is supposed to arrive??
Update: Images now link to higher res versions (click to view).
Six new images posted on USA Today online showing the dwarves, Bilbo, Gandalf, Gollum, and Radagast! Is this a peek at what’s in the upcoming trailer this week??
The map above is a prop replica featuring backlit moon-letters, which premiered at Comic-con last month. Although best known to Hobbit readers as Thror‘s map, the item itself is going to be marketed as “Thorin’s Map” according to the descriptive label (and as shown on the box from the Comic-con exclusive Thorin statue).
Here’s something my Lord of the Rings Online dwarf Freryn indulges in from time to time. It’s basically cosplay for role-players, and is all sorts of bizarre. But I’m proud to say I’m starting to convert others to this trend, as explained in my next post on Durin’s Folk…
Although this treat was posted a good six months ago on TORn, I completely missed it, and mayhap you did too. Lindele had managed (through some sort of audio magic) to extract the song from The Hobbit trailer, eliminating all talking and background noise, creating over 2 minutes of clear dwarf singing and orchestral glory! You think you liked it before? Just wait till you hear this! It is available as an MP3 download (right click and “save link as”).
[I often have issues getting audio files such as this to play online without skips (QuickTime and my computer don’t see eye to eye for some reason), but once downloaded, it will play fine in Windows Media Player or a similar program.]
Update 6/21/12: Thanks to The Queen, I was finally able to read an informative description of the Dwarves’ song on Doug Adams website. Adams has written about the music of the Lord of the Rings films, and will be doing the same for The Hobbit, but for now he is sworn to secrecy, so it is up to others to fill in the gaps till then. A poster named “Ewan” had some interesting things to say about the style of the song, and why it speaks to us:
Nice that the diegetic song appears to be by Shore, allowing extensive integration into the non-diegetic score in a way we didn’t see in LOTR.
The style of the song references gregorian chant and early organum (monkish vibratoless male voices, Stepwise melody, open and parallel 5ths). This conjures a sense of deep past in a European-inspired culture. Any religious connotations are avoided by the orchestral accompaniment, words, and similarities to more vernacular Celtic or Nordic folksong. (Note, for example the melodic similarities to Horner’s Braveheart love theme, which itself is a textbook study of Celtic sociomusical connotation.) Finally, the style is similar to elvish singing in it’s sense of mystique and remembrance of an ancient past in the fog of memory. Yet it is distanced from Shore’s elvish music by being completely diatonic, with no hints of eastern otherness. It is also hyper-masculine (through deep voices and repeated notes) as opposed to the more androgynous elvish singing heard in LOTR.
If, like me, you find this fascinating but mostly beyond comprehension, Ewan’s second post goes a long way to explain what it all means.
In his initial rebuff to critical opinion on the look of Hobbit footage screened at CinemaCon, Peter Jackson did not specifically address complaints that it appeared more like a behind-the-scenes-video than a finished film. I expected him to describe the post-production process, and thus reassure everyone that the “look” we have come to expect can be achieved after filming. Rather he came off sounding, if I may quote someone on TORn, “like an exasperated fish-monger”. Fortunately, Jackson shares these crucial steps with us in the latest article from The Hollywood Reporter:
Jackson explained that his original The Lord of the Rings used various postproduction techniques to create a certain look for the movies, including “extensive” digital color grading, “added texture, and we took out highlights.”
“We’ll do the same with The Hobbit, to make it consistent and give it the feeling of otherworldliness – to get the mood, the tone, the feel of the different scenes,” he said. “We are certainly going to experiment with different finishing techniques to give the 48 frames a look that is more organic. But that work isn’t due to start until we wrap photography in July (both Hobbit films are being shot simultaneously).”
“Part of the digital grading will give those incredibly sharp pictures a texture and a feeling that we want the film to have. We haven’t done that yet. What you saw [at CinemaCon, in terms of “crispness”] is partly due to the lack of motion blur (from the high frame rate) and partly due to the camera (in terms of resolution).”
I think by showing this unfinished footage at CinemaCon, Jackson’s goal was to highlight its brightness and clarity as an argument for projector upgrades (which he succeeded in doing) but many in the audience expected the finished look of Lord of the Rings. So why jump the gun and create all of this drama, instead of waiting until they had more finished footage?
Well for one, the upgrades need to be completed by December if anyone is going to see the film in 48 fps, so some type of demonstration was required in advance. Jackson insists that it takes some getting used to, so the short clips from just the trailer are not enough to sell the effect. Another issue was that Jackson could not predict the technical knowledge of all the attendees (especially the ones who immediately posted their reactions on Twitter). From what I could gather, many were film buffs, and some are even stalwart fans of Jackson’s films, but they may not realize all the steps the footage will go through after this screening. Replacing a greenscreen is obvious to everyone. Color-grading, highlight reduction, and texturing is less obvious. But it is all important to making The Hobbit into a world that is real, but distinctively different, than our own.