Brief Summary
In this episode of the Go Creative Show, Ben Consoli interviews Dion Bibi, the cinematographer of the live-action "The Little Mermaid." Bibi discusses the challenges and inspirations behind bringing the underwater world to life, paying homage to the original animation while grounding the story in realism. They explore the technical aspects of filming underwater scenes, the camera package used, and the strategic choices made to convey emotion, especially with a character who loses her voice.
- Paying homage to the original animation while grounding the story in realism.
- Technical aspects of filming underwater scenes.
- Camera package and strategic choices to convey emotion.
Introduction
Dion Bibi, the Director of Photography for the live-action "The Little Mermaid," is welcomed to the Go Creative Show. The host expresses his enjoyment of the film, noting its appeal to both casual and hardcore Disney fans. Bibi acknowledges the daunting task of adapting such a beloved title and emphasizes the importance of collaboration with director Rob Marshall.
Inspiration and Homage to the Animated Film
Bibi discusses the thought process behind adapting the animated film, emphasizing the need to pay homage to the original while recognizing the differences in live-action. While they watched the animation, they avoided frame-by-frame recreation, except for a few key moments. One such moment is the "Part of Your World" reprise, where they meticulously recreated the wave crash behind Ariel as she sings, aiming to evoke the same emotional impact as the original.
Underwater World: Inspiration and Visual Effects
Bibi explains that the underwater world's visual inspiration came from "Blue Planet," which helped the filmmakers understand how light and color are affected at different depths. The movie differentiates the looks of Ariel's Grotto, Triton's Atlantica, and Ursula's Lair based on these depths. Due to the musical nature of the film, the underwater scenes relied heavily on visual effects rather than actual water. To capture the live-action elements, actors were rigged on cranes and rotated to simulate swimming, allowing for precise control of movement and timing.
Filming the Underwater Scenes
The approach to shooting underwater scenes was likened to shooting in space, with actors on cranes and rigs allowing 360-degree rotation. This setup provided freedom of movement and precise control over shot composition and timing. The process involved meticulous rehearsal and blocking, with the physicality of the song understood by the singer before pre-recording. While the production initially used ncam to create digital 3D renderings of the sets, they eventually relied on visual references and the director's imagination.
Camera Package and the "Dark" Cinematography
Bibi chose the Alexa 65 camera with Hawk anamorphic lenses for the above-water world and Leica spherical lenses for the underwater elements to capture a broad scope. He addresses the criticism that the film is dark, attributing it to the reference point being the vibrant, shadowless animation. The intention was to ground the underwater world in realism, drawing inspiration from "Blue Planet" to depict how color and particulates are affected by depth.
Filming Above Water: Italy as the Caribbean
The production filmed the above-water scenes in Sardinia, Italy, chosen for its distinctive rock formations and proximity to London. Finding the right beach was a challenge, with the filmmakers seeking an iconic element that would be instantly recognizable. Shooting on location presented challenges in terms of weather and control, requiring careful planning to maintain continuity and consistency. The castle seen in shots from the beach was added in post-production, but the headland was a practical element that helped frame the shots.
Challenges and Difficult Filming Locations
The most difficult filming location was the underwater set, due to the complexity of choreographing actors and capturing live-action elements. Bibi was surprised that the shipwreck scenes weren't mentioned as much, considering the full-scale ship built on a gimbal in an outdoor tank. Shooting these scenes at night in winter was challenging due to the cold and the technical demands of working with wave machines and fire.
Cinematography and Ariel's Loss of Voice
Bibi discusses how Ariel's inability to speak for half the film impacted the cinematography. The production leaned into more close-ups to capture the subtlety of her expressions and relied on Hallie's ability to convey emotion through her face and eyes. A new song was created for Ariel to express herself when she first comes on land, using a lighting cue and camera movement to transition into a fantasy sequence where she could sing.
Rapid Fire Questions and Post-Processing
Bibi shares that "Under the Sea" was particularly fun to work on due to the combination of live-action and CG elements. He expresses satisfaction with the post-processing, noting the extensive work put into pre-visualizations and building reference points. While acknowledging that perfection is unattainable, he is generally happy with the final result.
