effects Chris DeFaria. The production then became digital. After testing a dozen different models, Kozachik opted for a basic digital still camera, the Canon EOS-1D Mark II, an off-the-shelf model that was outfitted with adapters to allow the use of Nikon prime lenses (14mm-105mm). Kozachik spoke about why he chose the camera, saying: "One reason I went with this particular camera is that its image chip is just about the same size as Super 35 film negative, so we could use Nikon lenses and treat them like regular 35mm cine lenses and get the same effect—the same depth of field and angle of coverage. I knew that we were going to be fighting to make this look like a 'real' movie because we weren't shooting on film, so I wanted to at least have the optics look like movie optics." Animation took place at 3 Mills Studios in East London. A dozen animators/puppeteers were put to work when production began, but that number had tripled by the end of production. The initial group spent time developing each puppet's unique characteristics. The puppets themselves, built by Mackinnon and Saunders, were typically about 17 inches tall and animated on sets built three to four feet off the ground with trap doors that allowed animators access to the sets' surfaces to manipulate the puppets. The three primary characters—Victor, Victoria and Corpse Bride—were fitted with heads the size of golf balls that contained special gearing to allow the animators to manipulate individual parts of the puppets' faces. The animators' work was spread over 25 to 35 individual setups/stages, each having its own Canon digital camera. A total of 32 cameras were used on the film. Each camera was outfitted with a "grabber" system that enabled the animators to capture frames and download them into a computer to assemble a short "reel" of the shot being produced to check their work. The film's images were stored on a 1GB image card that was capable of holding approximately 100 frames of animation. Eight roving camera teams—each team including a lighting cameraman, an assistant, a lighting electrician and a set dresser to deal with any art department issues—worked with the animators to set up shots. Each camera team had a "lighting station" workstation—comprising an Apple G4 computer and a monitor to assist in checking lighting and framing—to view TIFF file versions of the camera's images. Once a