American Cinematographer - January 2019 - 69

built at Shepperton. "The system had a
rotating operator's monitor, which was
slaved to the camera," he says. "This
kept my hand-wheel controls correctly
orientated on a pan-tilt axis, so it didn't
mess with my own internal GPS system
- i.e., my brain."
"The [third-axis] roll on the Gizmo
head also [assisted in] simulating our
'underwater' flying sequence for the
song 'Stuff and Nonsense,' which was
shot at 32 fps to speeded-up playback,"
Beebe says. "Slowing the motion was
great for simulating weight and movement underwater, but poor Emily
sounded like she was auditioning for
one of the Chipmunks."
Both Marshall and Beebe agree
that the set-piece hybrid animated/liveaction sequence in Mary Poppins Returns
was "the most challenging part of the
movie for us," the director says. He adds
that the sequence was put together "like
a mosaic - in small pieces, in a tedious
and painstaking way."

Beebe notes that integrating liveaction elements into a 2D environment is
quite different from the world of CG
visual effects and animation that he has
become well accustomed to. It was
crucial for the production's success,
however, since the animated sequence
was "clearly meant to be one of our
biggest homages to the original Mary
Poppins," the cinematographer says.
"We went through a process of
recording rehearsals with animators on
set," Beebe relates, "so they could
understand our camera movement,
which was really important to them in
terms of, for example, 'Are we doing a
multi-axis move or a linear move?' All
those things affected the [animated]
world. How things move relative to the
camera when you are in a flat, 2D landscape is different than when you are in a
real environment. So for me to work
with animators and understand their
point of view - how my camera movement will affect the animated environ-

ment - was really important."
Beebe reports that edited rehearsal
footage was given to the animation
team, who would then roughly sketch in
the animated characters at points where
they interacted with live-action
elements. Jim Capobianco served as
animation-sequence supervisor on the
production.
"Often we would shoot rehearsals
with people holding cardboard cutouts
of the animated figures so we could
understand their movements and the
actors could understand their eyelines,"
Beebe says. "Then the footage went
through a number of iterations. We
would reshoot bits, they would animate
bits, and we could make changes so that
when we went into principal photography of those sequences, we had a sort of
animatic available - a crude liveaction/hand-drawn sequence that the
actors could watch, [so they could] better
understand what they were interacting
with."
u



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American Cinematographer - January 2019

Table of Contents for the Digital Edition of American Cinematographer - January 2019

Contents
American Cinematographer - January 2019 - Cover1
American Cinematographer - January 2019 - Cover2
American Cinematographer - January 2019 - 1
American Cinematographer - January 2019 - 2
American Cinematographer - January 2019 - Contents
American Cinematographer - January 2019 - 4
American Cinematographer - January 2019 - 5
American Cinematographer - January 2019 - 6
American Cinematographer - January 2019 - 7
American Cinematographer - January 2019 - 8
American Cinematographer - January 2019 - 9
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American Cinematographer - January 2019 - 14
American Cinematographer - January 2019 - 15
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American Cinematographer - January 2019 - 17
American Cinematographer - January 2019 - 18
American Cinematographer - January 2019 - 19
American Cinematographer - January 2019 - 20
American Cinematographer - January 2019 - 21
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American Cinematographer - January 2019 - A
American Cinematographer - January 2019 - B
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