“Pantanal”: Understand How Cláudio Marzo Was Entered into the Soap Opera Scene

“Pantanal”: Understand How Cláudio Marzo Was Entered into the Soap Opera Scene

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Cláudio Marzo’s scene in the Pantanal required a special edition from Globo’s Visual Effects. The work there was coordinated by Rafael Ambrosio, Visual Effects Supervisor, and by Diego Thomazini, Designer of the area that is part of CDESIGN. The idea of ​​including the actor’s face came to the effects team in conversation with director Gustavo Fernandez, who was directing the shooting of the scene.

“The hardest work started three weeks ago and was completely confidential,” Rafael Ambrosio tells Gshow, noting that Marzo’s family has given permission for his images to be edited and used.

Cláudio’s visual research work was carried out by Rafa Machado from the same team. The original plan was to use some of Marzo’s shots in the first version of Pantanal which wasn’t feasible due to copyright issues. Then came the idea of ​​using snippets of Marzo in Desejo Proibido, his last soap opera, shown by Globo in 2008.

“We took several pictures and we knew that he would not speak on stage. We had to find reactions that fit the scene,” explains Ambrosio. “We had recording tests and by the time it was actually recorded we already knew the angle and how it was going to be done.”

1 of 1 Cláudio Marzo was the leader of the entourage in the scene of this Saturday’s “Pantanal” — Photo: Globo

Cláudio Marzo was the leader of the entourage in the scene of “Pantanal” this Saturday Photo: Globo

“From a technical point of view, several tools were used, including some artificial intelligence studies for use on the actor’s face. It was very compositional, tools that are also used in Hollywood,” he elaborates.

For the scene directed by Fernandez, Ambrosio and his team went to the trouble of cropping the actor’s image, which included Marzo’s face (and his reactions) in the space indicated.

In addition to the composition of superimposed images, this also required dealing with the quality of the final image: “Desejo Proibido”, as recorded in 2008, used SD technology, in which it is at least 10 times less quality than the Pantanal, all in 4K recorded.

“We had an arduous image restoration process, but from the perspective of the homage surrounding the effect, we saw it had mega relevance. It was something important to do, it gave us gas to dedicate ourselves to,” celebrates the manager.

Interested in learning more about the work of the Visual Effects team? Watch the video!

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