Scenario modeling part 2/ Modelagem de cenário parte 2

The scenario of the film Gadanthara, made by “The Detail Library Committee” is rich in detail and full of history. My name is Maria Amélia Gonçalves and with Flávio we are modeling the scenario. I’m going to explain about the process of construction and modeling in the film.

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The aesthetics of the film was thought like the Stop Motions films. We got many concepts in this technique and then we transported to the 3d technique. When we are modeling the objects we think before how would this be done in miniature. We paid attention in dimensions, materials and others things. We thougth  these things before the construction.

The builds come to us with position, size and level of importance determined. This helps us to consolidate our ideas. After thinking, finding reference and talking with other members of the team, we analyze the most significant

point: the level of importance. This level is calculated together with the takes, that are defined with the camera in the map of the city 3d. If the build is next to the camera most detail will be in it.

We filed references (picture and photo) that help us to create the objects of the scenario. We always talk and ask opinions to all team. This is great because the work flows.

All the process is special. The build receive the particular attention, one by one. We put then memories, dreams, preferences aesthetics and a lot of things. I am very luck for working in a production where the first rule is let the imagination free.

- português - 

     O cenário do filme Gadanthara, que está sendo produzido pela “The Detail Library Committee” é rico em detalhes e cheio de histórias. Meu nome é Maria Amélia Gonçalves e junto com Flávio sou uma das modeladoras do cenário. Eu vou explicar um pouco mais sobre o processo de contrução e modelagem do filme.

O filme foi pensado com uma estética similar aos filmes de Stop Motion. Transportamos alguns  conceitos  desta técnica para a modelagem 3d. Ao modelarmos os objetos do cenário pensamos antes como isso seria feito em miniatura, ficamos atentos as dimensões, materiais, entre outras coisas, que são pensados antes da construção.

Os prédios chegam para nós, modeladores, com posição, tamanho e nível de importância já definidos. Isso ajuda a consolidar-mos nossas idéias. Depois de pensarmos, pesquisar referências e discutir juntos de outros membros da equipe, analisamos o ponto mais significante: o nível de importância do prédio. Este nível é calculado de acordo com o ponto de vista das tomadas, já definidas com câmeras no nosso mapa da cidade 3d. Quanto mais um prédio aparece junto a câmera, mais detalhado ele será.

Sempre deixamos arquivado referências (desenho e fotografias) que nos ajudam a desenvolver a montagem dos objetos do cénario. Além disso discutimos e pedimos opinião de todos da produção. Isso sempre ajuda muito, pois assim o trabalho fica mais livre.

Todo esse processo é muito especial. Cada prédio recebe de nos uma atenção particular, depositamos neles nossas lembranças, nossos sonhos, nossas preferências estéticas, enfim, é uma grande sorte poder trabalhar em uma produção em que soltar a imaginação é a primeira regra.

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