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DF Julio Costantini fala sobre a tecnologia ARRI por trs de "Confisses de uma Garota Excluda" da Netflix

27/10/2021

Baseado no romance mais vendido da autora brasileira Thalita Rebou as, Confiss es de uma Garota Exclu da , que conta a hist ria de Tet , uma adolescente que sofre bullying na escola. Produzido pela Panor mica Filmes para a Netflix, uma hist ria de amadurecimento que gira em torno de uma menina depois que ela se muda para a casa dos av s e come a a frequentar uma nova escola. L ela faz amigos e inimigos, e ter que se provar inocente de uma acusa o que pode mudar sua vida.

Depois de Tudo bem no Natal que vem , Confiss es de uma Garota Exclu da a segunda produ o da Netflix do diretor de fotografia Julio Costantini. No entanto, seu talento criativo, combinado com uma ado o pragm tica da tecnologia, prev o sucesso futuro cont nuo.

O diretor Bruno Garotti, que dirigiu v rios projetos derivados da literatura, quis utilizar novas refer ncias ao mesmo tempo em que se manteve fiel a esta hist ria. Ele tamb m queria brincar com anima o e dividir a tela ao longo do filme. Foi um desafio para Costantini, que se prop s a empregar as t cnicas mais modernas, criando um workflow eficiente do in cio ao fim. Ele nos conta um pouco sobre sua abordagem e conta com os melhores talentos, tecnologia de ponta e os workflows mais recentes.

Copyright Netflix

Confiss es de uma Garota Exclu da conta a hist ria de Tet , uma adolescente que sofre bullying na escola.

Julio, a primeira vez que voc trabalha com o diretor Bruno Garotti. Qual foi sua abordagem para Confiss es de uma Garota Exclu da ?

Sim, este foi meu primeiro trabalho com o diretor Bruno Garotti e devo dizer que tem sido uma tima experi ncia. Bruno est muito focado em conseguir boas atua es dos atores. Tudo come a com o elenco incr vel que ele sempre traz para seus projetos. Como fot grafo, acredito que o melhor que podemos fazer, em rela o aos atores, respeitar, proteger e buscar sutilmente aprimorar suas atua es, tentando n o interferir muito, tecnicamente falando.

Quer amos ter uma abordagem um pouco diferente para os diferentes mundos retratados no filme, como a escola da Tet ou o apartamento da av idosa, que ficava no bairro hist rico de Copacabana no Rio.

Desde o in cio, sab amos que este filme necessitaria de movimentos de c mera que acompanhassem de perto os atores, muitos deles jovens e capazes de se adaptar aos seus momentos improvisados.

Confiss es de uma Garota Exclu da foi filmado durante a pandemia no Brasil. Como isso afetou seu trabalho?

Rodar um longa-metragem, durante uma pandemia mundial n o uma tarefa f cil. Trabalhar com a equipe em seguran a durante a pr -produ o, filmagem e p s-produ o; tivemos que respeitar protocolos r gidos, fazer testes de PCR o tempo todo e prestar aten o a todos os detalhes em rela o prote o da Covid, e claro que isso tudo muito importante. A filmagem tamb m, sempre intensa, mas durante uma pandemia, sua concentra o precisa ser duplicada.

Algo interessante de mencionar, o fato de que este filme teve sua corre o de cores feita de forma remota. A corre o de cor foi feita pela colorista residente Julia Bissiliat, assim como Francisco Neto (conhecido como Chiquinho), colorista s nior e supervisor de p s-produ o, ambos da DOT Cine. uma honra trabalhar ao lado deles, encontrando as melhores solu es para cada momento da hist ria. Na verdade, nosso trabalho come ou bem mais cedo, durante a pr -produ o, quando nos reunimos remotamente com a equipe da Netflix no Brasil, Laura Futuro e Bernardo Caron. Discutimos todo o processo at o final, cobrindo corre o de cor no set, dailies, mas tamb m as escolhas criativas e qual seria a melhor forma de chegar nos resultados.

Copyright Laura Campanella / Netflix

Maquinista Luciano Oliva Coqueiro (acima) e DF Julio Costantini no set de Confiss es de uma Garota Exclu da . Filmado no auge da pandemia no Brasil.

Empregar as t cnicas mais recentes do setor, est realmente se tornando a norma no Brasil. Por exemplo, empolgante ver o Sistema de Codifica o de Cores da AMPAS Academy Color Encoding System (ACES) chegando maioria dos sets de filmagem. Por que voc decidiu us -los neste projeto?

No meu primeiro projeto Netflix, Tudo bem no Natal que vem , tivemos a melhor experi ncia trabalhando com o sistema de cores ACES. Achei que esse projeto tamb m se beneficiaria muito com isso. muito vasto em termos de possibilidades e tamb m ajuda a manter todo o workflow alinhado. Depois de capturar sua imagem em ARRIRAW, voc deve esperar trabalhar com um espa o de cores que carregue a maior quantidade de informa es at o final, e o ACES faz isso. Os detalhes que encontramos em termos de nuances de cores durante a p s, especialmente em HDR, foram impressionantes.

Uma nota r pida, embora filmar em ARRIRAW possa parecer imposs vel para algumas produ es, em termos de gerenciamento e armazenamento de dados, usando High Density Encoding (HDE), pode torn -lo realidade, e este foi o nosso caso. Fizemos alguns testes durante a pr -produ o e descobrimos que pod amos reproduzir os arquivos originais em tempo real e economizar quase 40% de armazenamento ao usar HDE, que por sinal absolutamente sem perdas. Ficamos muito felizes em us -lo no filme.

Parece que voc se sente confort vel trabalhando em HDR. Mas como isso afetou a filmagem?

Este foi meu segundo projeto conclu do em HDR e j sou um grande f do processo. As nuances de cor e a faixa de contraste com as quais voc pode trabalhar me fazem sempre querer terminar em HDR de agora em diante. Isso me lembra que nem sempre uma quest o de pixels ou resolu o, mas de profundidade de cor e multiplicidade de tons dispon veis, e isso que o HDR oferece sua imagem.

S posso dizer que o processo afetou positivamente a filmagem. Assim que voc tiver a possibilidade de monitorar HDR, mesmo que apenas o DIT perto do set tenha acesso a ele, voc pode verificar todos os d
LINK: https://www.arri.com/news-pt/df-julio-costantini-fala-sobre-a-tecnolog...
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