 In the climactic battle , 150 extras stood in for the Narnians , while 300 extras were used for the Telmarines . These were digitally duplicated until there were 1 @,@ 000 Narnians and 5 @,@ 000 Telmarines onscreen . The animators found it easier to create entirely digital centaurs and fauns , rather than mix digital legs with real actors . The <unk> were entirely computer @-@ generated , whereas in the first film digital petals had been composited over actors . However , Adamson had chosen to make the centaurs not wear armour , meaning the animators had to make the human – horse join behave more cohesively . Combining digital characters with actors , such as when Lucy hugs Aslan , had become easier since the first film , as lighting had improved . To achieve Lucy hugging Aslan , Framestore even replaced Georgie Henley 's arm with a digital version . For the <unk> , a motion control rig was created for the actors to ride on . The rig could simulate subtle movements such as wing beats for realism . Adamson cited the river @-@ god as the character he was most proud of . " It was a really masterful effect : to control water like that is incredibly difficult " , he said . " The [ visual effects company ] told us they 'd been waiting to do a shot like that for ten years . " 
