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Emotion - how can we enhance the drama of the film, given that our characters have cylindrical heads that are simpler in their response to light than human heads, and lack the emotional focal point of the human face, the eyes (minifig dots scarcely count as eyes in the photographic sense).Scale - how miniature should the world feel? Can we retain a sense of the epic while evoking the tiny?.So to represent Lego photorealistically via computer graphics is most unforgiving - the slightest mistake will just look wrong, and almost everyone will react to the mistake, even if they could not articulate what was wrong about the image they were viewing. We 'know' what it looks like - how it reacts to different lighting conditions, the patina of its surface, the way light transmits through it. Pretty much everyone is familiar with Lego. Let's leave aside the technical considerations (the subject of a future article) and consider the cinematographic challenges. I think we were all initially thinking 'It's plastic - how hard can it be?' hard.

'We want it to look as though it's all been made in someone's basement - someone with a lot of time on their hands - and then lit and photographed by an absolutely top-notch miniatures photographer.' A word that sends a shiver down the spine of even the most seasoned CG veteran (perhaps especially so the more seasoned). The brief from the directors was clear: PHOTOREALISM.

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