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Editing Chamber of Mazarbul

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[[Andrew Lesnie]] has commented on the challenges he faced while trying to light the set, while maintaining the sense of a shaft of strong white light. His camera team eventually followed the idea that the shaft's light would bounce off the rest of the chamber, creating a glowing ambience that would work well for that specific sequence of the film.
 
[[Andrew Lesnie]] has commented on the challenges he faced while trying to light the set, while maintaining the sense of a shaft of strong white light. His camera team eventually followed the idea that the shaft's light would bounce off the rest of the chamber, creating a glowing ambience that would work well for that specific sequence of the film.
 
For the shots looking up into the roof of the chamber, the visual effects team had to digitally extend the chamber architecture, because the physical set only extended to a certain height, above which was the lighting grid.
 
  
 
Grant Major authored the English text that would be carved in runes onto the chamber walls by carefully scoring the books for information about Moria's history. His findings were transcribed into the runes that adorn the walls, along with translations of certain sentences into Khuzdul by [[David Salo]].
 
Grant Major authored the English text that would be carved in runes onto the chamber walls by carefully scoring the books for information about Moria's history. His findings were transcribed into the runes that adorn the walls, along with translations of certain sentences into Khuzdul by [[David Salo]].

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