리븐델 반지의제왕 웨타 WETA - Rivendell Environment Model

RIVENDELL ENVIRONMENT MODEL

- Price : $399.00

- Open Edition Collectible

- Dimensions : (H x W x D) 20 cm x 46 cm x 31 cm

- Weight : 13.22 lbs (6 kg)

 

The Rivendell environment diorama from Weta is based on the miniature featured in The Lord of the Rings and built by the same artists and craftsmen that work on the movies. The combined efforts of 14 people have resulted in a stunningly detailed environment that evokes the serenity and peace of the House of Elrond.

 

1,200 hours of creativity and attention to detail went into this piece. Every tree, every ornament, every brick was considered and produced to make up the whole. Rivendell is approx 46cm (18" long) and by some margin the biggest of The Lord of the Rings environments from Weta.

 

Home to Elrond, Rivendell was founded in the year 1697 of the Second Age by the Elven Lord as a haven amid the growing darkness in the north of Middle-earth. Under the protection of Elrond's Ring of Power Vilya, Rivendell was a sanctuary and meeting place for the forces of light and persisted in secrecy and security until the War of the Ring and the fall of Sauron, the enemy. There dwelt the Lady Arwen, and king in exile, Aragorn, came and went as he pleased. Bilbo Baggins called Rivendell home in his declining years, and often it hosted secret war councils and discussions among the leaders of the free peoples. The heirlooms of Middle-earth were gathered there in Elrond's library: Narsil, the sword of Elendil that cut the Ring from Sauron's hand, and Aiglos, the spear of Gil-Galad, among others. Imladris, the Last Homely House – the Elven settlement was known by many names, though its paths were shrouded in secrecy and enchantment. Perched among waterfalls in a hidden valley in the foothills of the Misty Mountains, Elrond's home provided a safe haven for Thorin's company during the quest for Erebor and Frodo's party when they sought refuge from Sauron's wraiths. It was at Elrond's council in Rivendell that the Fellowship of the Ring was born and the quest to destroy the One began. Even beyond the end of the Third Age, when the Rings of Power were no more and Elrond had passed over the Sea, Rivendell remained, at least for a time, in the keeping of Elrond's sons Elladan and Elrohir.

 

IMPORTANT: Unpacking your Rivendell – In order to ensure nothing happens to your Rivendell in transit, the base has been secured to the packaging with bolts by Weta. You will need to loosen these with the included wrench to remove your Rivendell environment.

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1.David McGahan building digital models of the smaller structures to be rapid prototyped. This is done early in the process to get the smaller pieces to us as soon as possible so we can build them into the larger sections.

2.Early planning with Daniel and Dave. We are getting our heads around how the model was set out, how much we will build and what size. The model was reconfigured several times, during the filming and we have to work out what the original, classic layout was. The colours were also changed during filming to become more subdued during the end of the Elves time. We won’t be using these models for paint reference but will be using frame grabs and pictures taken at the time.

3.Dave working on building 1.

4.Gary Hunt sculpting tiny statues and details. These are only a couple of millimetres across. All these pieces are to be copied many times so have to be done early to give Bruce time to reproduce them.

5.Turning a column to be reproduced many times. This will be capped with a piece of shaped styrene and one of Gary’s tiny sculpts.

6.Dave Tremont building a generic section of brick wall made from many tiny cut pieces of styrene.

7.Shari Finn putting lasered detail onto building 2.

8.Bruce Campbell... no, not that Bruce Campbell... setting up the moulds for the wax prints. These pieces are extremely fragile and we mould them as soon as we get them. They are very expensive and we don’t want to risk damage by trying to work on them. We can then work on resin copies to super detail them.

9.Shari Finn digitally building the fine detail to be cut out of fine acrylic by the laser.

10.Dave measuring the model to start building and how to achieve the type of detail that represents Rivendell and more importantly, how it would be reproduced. As a matter of interest, the collectible patterns are 1/13th of the original studio model.

11.The final trees and tree clusters are readied for and moulded. The trees are reduced to 31 groups.

12.This is working out the basic layout of Rivendell. Dave spent time getting the main rear buildings (5,6 and 7) at their correct heights as they link together. The rest are basically a plan view as the heights are done on the plastacine base sculpt where we can start to put in the environment to better understand the 3D layout.

13.Dave Tremont working on and detailing building 6

14.Dave Tremont model making the basic building sections ready to apply the fine laser cut detail and cast pieces. The building foundations have gaps around the stair details and these will be filled with plastacine and sculpted into rock detail.

15.Dave Tremont model making the basic building sections ready to apply the fine laser cut detail and cast pieces. The building foundations have gaps around the stair details and these will be filled with plastacine and sculpted into rock detail.

16.Some of the multiple casts of Gary Hunt’s sculpts. These get cleaned up and glued along the sides of the buildings and bridges.

17.Lasered details

18.The first of the wax prints arrived from the printer.

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This was a challenging model on several levels. The shooting miniature was broken up and moved around for the many different shots, so for us, what was the definitive representation of Rivendell?

After the layout was decided, these are very open plan designs and we have to make this able to be moulded and mass produced at a reasonable cost. How do we produce delicate looking buildings and keep it solid enough?

 

All the roof tiling detail was the next problem to sort. We laser cut a sheet, then cast it in thin resin that I could heat up to form around the curved roofs.

This collectible had a lot of delicate model making, sculpting, laser cutting and a little 3D printing that all had to be tied together to retain a hand sculpted feel.

With the final piece built, the last of the landscape had to be sculpted and with that, working out where the path out of Rivendell and the start of the journey would be.