莱特瑞和他的团队由此获得了奥斯卡奖。
这给莱特瑞的视效团队带来了巨大的挑战。
This posed huge challenges for the visual-effects team, led by Mr Letteri.
尽管如此，莱特瑞和他的团队只能在20%的时间里单纯用捕捉到的瑟基斯的表演来控制咕噜姆的动作。
Even then, Mr Letteri and his team were able to control Gollum's movements solely using Mr Serkis's captured performance only 20% of the time.
莱特瑞解释说，虚拟摄像机产生的实时预览画面的分辨率还很低，而且由于计算机的计算能力不足，很多面部细节都显示不出。
The preview produced in real-time on the virtual camera was quite low-resolution, and many facial details did not come through because there was not enough computing power, explains Mr Letteri.
新西兰维塔数码的乔•莱特瑞是这部电影的视效总监，他和他的团队制造了一个雕像，然后用激光对雕像进行扫描，从而创造了一个数码的三维模型。
The film's visual effects supervisor, Joe Letteri at Weta Digital, in New Zealand, and his team created a sculpture which was scanned using lasers to create a digital, three-dimensional model.
演员们被安置到虚拟的世界中，道具、服装和布景都是画出来而非制造出来的，这可能会使一些人工作不保，但是莱特瑞认为这更有可能带来劳动力的转移。
As actors are transported into virtual worlds where props, costumes and sets are drawn rather than built, there is the potential for job losses, but Mr Letteri thinks job transfers are more likely.
演员们被安置到虚拟的世界中，道具、服装和布景都是画出来而非制造出来的，这可能会使一些人工作不保，但是莱特瑞认为这更有可能带来劳动力的转移。
As actors are transported into virtual worlds where props, costumes and sets are drawn rather than built, there is the potential for job losses, but Mr Letteri thinks job transfers are more likely.
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