As armies mass for a final battle that will decide the fate of the world--and powerful, ancient forces of Light and Dark compete to determine the outcome--one member of the Fellowship of the Ring is revealed as the noble heir to the throne of the Kings of Men. Yet, the sole hope for triumph over evil lies with a brave hobbit, Frodo, who, accompanied by his loyal friend Sam and the hideous, wretched Gollum, ventures deep into the very dark heart of Mordor on his seemingly impossible quest to destroy the Ring of Power.​

Documentary about the making of the 1996 horror-comedy.

Recounting of the long process of adapting the text of J.R.R. Tolkien's The Fellowship of the Ring for film, a project that had begun in 1997. This involved countless adjustments of scenes, about a hundred screenplay revisions, and constant reordering of key moments from the story to fit the brevity of a film.

This documentary introduces Wētā Workshop (and its design crew of sculptors and set-designers), renowned artists Alan Lee and John Howe who were brought on to join them in conceptual design, and costume designer Ngila Dickson. Topics covered include the design of Middle-earth cultures portrayed in the film, the making of props and settings for Hobbiton, Rivendell, the Orthanc interior, and Caras Galadhon, and the complexity of prosthetics.

Peter Jackson, members of Weta, and film production personnel are interviewed, telling of the birth of a small company in 1993 (for the making of Heavenly Creatures), which would provide visual effects for The Lord of the Rings: The Fellowship of the Ring, and its various tasks in rendering fictional, fantasy environments and entities. The process behind the making of the Watcher in the Water, the Cave-troll, the giant corridor of Dwarrowdelf, the Balrog and its fire effects, the water-horses of the Bruinen flood, and the Ringwraiths' true appearance are explained by effects specialists of Weta Digital and the American company Digital Domain.

This documentary covers the early storyboard, pre-visualization, and screening processes in the production. Christian Rivers, a Wētā Workshop art director in the production team, drew most of the storyboards of the plot of the movie. After scene design was finalized, Peter Jackson used toy-sized miniatures of setting and characters, to review and decide on camera movements for each scene. The computer graphics program PreViz was then used to visualize the scenes with basic 3D models.