Meu laboratorio

Aqui nos Estados Unidos eu estou trabalhando a maioria do tempo como Assistente de Direção. Teve uma amiga minha do Brasil que me perguntou se o meu trabalho é ajudar o motorista. Eu respondi que de uma certa forma é exatamente esse o meu trabalho.

O Assistente de direção tem o papel de comunicar para a equipe exatamente o que está acontecendo a todo momento dentro de um set de filmagem. Ele é responsável pela a agenda do filme e também pela organização da produção. É responsabilidade do AD extrair do roteiro todas os detalhes importantes necessários para a filmagem e distribuir para os devidos departamentos essa informação.

As desvantagens de ser um AD são as horas trabalhadas mais extensas, o excesso de stress, e condições físicas e mentais intensas de trabalho. As vantagens são o salário mais alto de toda a equipe (sem contar elenco, produtor e diretor), a carga de responsabilidade, e acesso a tudo e todos.

Quando eu não estou trabalhando, eu estou procurando emprego, e nesse momento que eu me dedico ao meu website, minhas pesquisas, meus projetos. Um dos meus projetos é a integração do Movie Magic Scheduling com o Google Calendar. Durante esse processo eu tive que conectar uma serie de computadores em rede para poder acessar diferentes informações em cada um deles. Eu percebi que eu estava rodeado de computadores, e dai eu resolvi tirar uma foto do meu laboratório.

Meu Laboratorio

Para resumir, o meu trabalho é focado muito em pequenos detalhes. Nesse processo, eu tenho que ter certeza que todos saibam o que está acontecendo, inclusive o motorista.

Hacienda Heights

This summer of 2011 I worked as first AD for a TV pilot called Hacienda Heights, directed by Desmond Gumbs and produced by Sam Sapp.

This TV show will be picked up by a distributor and for that reason I can’t tell a lot about the details of the show. What I can say is that we had major challenges during the shoot due to very hard to solve production logistics. Even with these problems, we managed to finish everything with the resources we had.

In the beginning of the show, I was working with Jorday Paley as 2nd AD. We worked pretty well the first week, but then on the second week he had to go for another gig that he had scheduled before signing with us. So after he left, I worked by myself with the producer and 3 PAs. The PAs did an amazing job at everything that they had to do. We were overloaded with managing a crew of 30 people and getting all the pieces together for the shoot. After 12 days of shooting and 8 days of office work, we finished 52 pages of material.

For this gig I had the pleasure to work with a very talented set of actors (which I am not allowed yet to reveal names) and an awesome crew. I also had the satisfaction to shoot at the LA river with a helicopter camera, drive expensive 300K cars, act in one of the scenes, and travel to Malibu to shoot a scene on a mansion overlooking the ocean.

I am hopeful that the show will be signed and we will be working more. When I get more information about the show, I will definitely post here.

Integrate Movie Magic Scheduling with Google Calendar

So I receive a couple of messages asking how I created this integration between Movie Magic Scheduling and Google Calendar. Instead of answering one by one, I decided to create this tutorial that teaches how to do the integration.

The process is pretty simple. We have to create a CSV file using Movie Magic Schedule. To do that we need to run a REPORT that will transfer all the database info into a pdf file and save this pdf to a CSV file.

In order to do that you need the following software:

  • WORD


Download and import the following report that I created.


To import a calendar you have to open a Movie Magic Schedule, click on DESIGN, a list of Report Layouts will appear, click on the IMPORT ICON, select the downloaded file and voilà.

A report called Calendar Export by Mario Amadeu will show up. Run the report by double clicking on it and then click on Print Preview. The content generated will be barely readable, don’t worry about that because I did this way so the whole information stays in one page for exporting purposes. Print the file as PDF so you can transfer to excel. The first part is done.


Open the generated PDF file, rotate 90 degrees clockwise, and save. Select all, copy and paste to a word Document.

Every line should have a set of information. For some reason the line breaks messes up sometimes when copying and pasting to word. Because of that, I created one more step on word just to make sure everything will be smooth. With the text copied to word, go to EDIT->REPLACE. In the field “Find what:” type “}”, and in the field “Replace with:” type “^p”. Hit REPLACE ALL button.

Note: if the line breaks are fine, then replace “}” with a “blank space”

Save the file as txt. Open Excel and click on DATA->GET EXTERNAL DATA->IMPORT TEXT FILE. Open the text file created on word and a Text Import Wizard will open.

On step one choose Delimited;
On step two select Semicolon;
On step three select the second column and change the data format to DATE MDY
Hit finish.

The excel file will be created. Select the column B, START DATE, and format the column as a DATE with format MM/DD/YYYY. Save the file as CSV. DONE.


This is the last step. To import to Google calendar, you have to open Google Calendar and under OTHER CALENDARS click on ADD->IMPORT CALENDAR. Browse for the csv file you just created, select the calendar to export to, and hit IMPORT.

If for some reason you get an error message, open the CSV file on Excel and break the table down in less records. Save 2 or 3 CSV files, each one containing 30 lines maximum. Repeat the first line with the header and save it for each one. Import the files into Google Calendar. DONE.


The good part of this integration is the fact that you can add cast and crew to the calendar, they can see details like maps, description, synopses, page count, estimated time and comments. I am pretty sure that more features will be created in the future, and maybe in a next version of Movie Magic Scheduling we will have this integration built in.

What I am working now is creating fields for call time and more detailed information like inserting day breaks and so on.If anyone figures new things, please comment here and share with the world. Thanks.

Forever Yours

During the month of June I did two projects as first AD. The first one was for a company based on New York. They hired me to arrange the schedule and  budget before start of production.  After this project, I was hired again to work for a friend. His film is called Forever Yours.

My friend Parlav Chaudhary invited me to work on his project. It was a short film with students from the New York Film Academy. We shot this film in one day at an amazing location in Reseda. When I say amazing I don’t mean that it was a fancy mansion or something like that. The place was almost like a farm house in the middle of the city.

I always get to the location 30 minutes to one hour before call time just because I am the First AD, and usually I work a lot. So when I got there, there was at least 15 dogs inside of the location. I entered the place and I thought: “okay, cool. All these dogs are going to mess the shoot. Awesome!” I thought of that because at first the house seemed pretty small for that amount of dogs, but I started to find my way to the back of the house and I was amazed by how big that place was. The house in the front was big enough to keep all the dogs inside, then the backyard, where  we set up the stage area and the shooting location, was triple the size of the front house.

Two things that were unbelievable in the backyard: first an artist called Alex Atman, lived there in a cabin kind of house where his atelier, his jawbreaking 3d metal artwork, were exposed to everyone to see. This guy was also pretty cool with us, because he let us use his place for the actors change clothes, and he pretty much cleaned the only bathroom before everyone started using it. The second unbelievable part of the backyard was the animals. There was at least 4 hogs there in the backyard. I couldn’t believe what I was seeing. They were the most cute thing I could ever imagine seeing on a set. People have the tendency to think that hogs and pigs are filthy, disgusting animals, and they are kind of filthy and disgusting. But at the same time they are very funny and cute. The noises they make, they way they walk, and how sneaky they are.

There was a moment that one of the hogs were getting close to the craft table to eat what was in the trash can, and I had to scare him off. The hog literally complained with me making noises similar to a man growling. And then slowly he backed away. Everybody laughed at that scene.

The shoot went fine. We were using the RED Camera with a set of very beautiful PL prime lenses as the first camera and we had a rigged 7D as well as the second. The DP was Sanket Dolas and he is one of the most talented DPs I had the pleasure to work lately. We had a crew that were very efficient and everybody was really laid back. I mean, there was no people bitching about anything, and no complains. Even with a 19 hours shoot day. It took us 19 hours to start and wrap the whole thing. By the fact that it was only one day, the overall mood of the crew was good even with the long hours.

I took some pictures of this day and also the still photographer Fred Tapia gave me some frames. Check it out and let me know your thoughts.

First AD – Credit Fred Tapia
Forever Yours Behind the Scene – Credit Fred Tapia
REd Camera Forever Yours – Credit Fred Tapia
1st AD
Mario First AD – Credit Fred Tapia
Second camera 7D – Credit Fred Tapia
Shooting with the RED – Credit Fred Tapia
Forever Yours Crew
Forever Yours Crew – Credit Fred Tapia
Parlav and Mario – Credit Fred Tapia
Forever Yours 1st AD


where people see a filthy pig, I see a beautiful animal that I don't like to eat.

Rosa Morena

Neste Domingo dia 5 de junho fui assistir ao filme Rosa Morena que estava sendo exibido no Hollywood Brazilian Film Festival. A minha irmã Miriam Amadeu participou deste filme com uma personagem fantástica.

O filme trata-se da história de um Dinamarquês, Thomas (Anders W. Berthelsen), que vai para o Brasil tentar adotar uma criança. Pelo fato de ser homossexual, Thomas enfrenta grandes obstáculos que o impedem de adotar uma criança na Dinamarca. A personagem que a minha irmã faz é a primeira tentativa real de Thomas na busca de seu sonho.

O filme é muito bem feito com atuações verdadeiras e com um roteiro real e denso. Os personagens tem muita profundidade e os diálogos são sinceros. O que mais marca no filme é a perfeita combinação de humor e drama. Homossexualismo é um tema que para ser tratado precisa-se muita coragem e sutileza. O filme lida com o drama dos personagem de forma humana, e não levanta bandeiras que possam gerar polêmica. Eu acredito que que a audiência vai se identificar com a história independentemente  da opção sexual ou da opinião sobre o assunto. Esse é o motivo que mostra o brilhantismo dessa produção.

O filme foi produzido com capital Dinamarquês e Brasileiro. Um dos produtores do filme é o Ivan Teixeira. Conversamos um pouco ao final da apresentação e fiquei muito contente de conhecer um profissional brasileiro tão talentoso e simpático.

O video acima é uma das cenas que a minha irmã faz. As fotos abaixo são do Grauman’s Chinese Theatre em Hollywood lotado durante a apresentação do filme.

Grauman’s Chinese Theatre
Miriam Amadeu
Anders Berthelsen
Miram Amadeu

Single chip camera evaluation – Cine Gear Expo

Bob Primes, ASC produced a documentary that evaluates the new wave of single large chip cameras.

This documentary was showed at the Paramount theaters during the Cine Gear Expo of 2011.

Bob Primes, Image Quality Geeks

I was there for the screening and also could watch a Q&A with the producer Bob, cinematographer Stephen Lighthill, and post supervisor of the documentary Mike Curtis.

This documentary is a carefully Single Chip Camera Evaluation, shot on 12 cameras . There was an extensive battery of tests that evaluate the following:

  • sharpness,
  • sensitivity,
  • over and underexposure latitude,
  • low light performance,
  • compression artifacts,
  • color reproduction,
  • skin tones,
  • shutter artifact

The cameras being evaluated were:

  • Arri Alexa,
  • Sony F35,
  • Red One MX,
  • Panasonic AF100,
  • Sony F3,
  • Phantom Flex,
  • Weisscam HS-2,
  • Canon 1D MkIV,
  • Canon 7D,
  • Canon 5D Mk II,
  • Nikon D7000
  • and two film stocks: Kodak 5219 and 5213

Before we go over the details of this evaluation, let me explain how they did the evaluation which I think is very relevant. All cameras were recorded in their best output formats, which means that if a camera had as its best output a 4:4:4 12 bit to a external device, that was the way they shot this particular camera in all tests. Also each and every camera had a person called “camera master” that would be responsible for tweaking the camera for optimum quality. There was no color correction on the footage that would disregard the evaluation. The editing was soundless, so we could focus on the image. Last but not least, they had total control over the whole process from conception to final cut, with no interference from any of the cameras manufactures.

With that being said, lets show some graphics taken from the documentary that explain in details the camera performances.

Maximum Resolution

Maximum resolution is the amount of data in one pixel. As you can see in the graphic below, the camera that performs better is the film camera. Surprisingly enough, the Red camera is as good as the film cameras in this category. The worst cameras are the DSLRs, which is expected because they have the worst compression, huge aliasing/moire and terrible recording outputs (they record only on internal cards).

Maximum resolution


Sensitivity is how well the camera (sensor/film) will capture light. In this regard the film cameras were the worst ones, but I did some research and I saw that these 2 film stocks (Kodak 5213/5219) were actually pretty slow. Correct me if I am wrong, but it seems that they are 200 and 500 ISO. Which means that it is expected the low sensitivity results. The best camera, or the most sensitive, was the Canon 1D, that also has the biggest sensor. Of course that everything comes at a price, and in this case is the amount of noise that the Canon 1D has.

The Sony F35 was the one that I was amazed by the sensitivity performance. It is not bad, but the low light performance resembles what the film cameras capture. I would even dare to say that the F35 would be similar to a 1000 ISO Kodak film stock (if that’s even a possible consideration).

The Arri Alexa is a very good camera overall, and I also like the Sony F3 and the Red One.



Latitude measures the amount of light a camera/film can process and still creates an acceptable image. For example: a good camera has a greater latitude and it will be able to capture in one frame the highlights and the shadows without any lost of information/detail.

Of course that the film cameras would perform better in this category because they are film, and there is no digital sensor capable of capturing so much information than a film. What I was amazed is how close the Arri Alexa is from the latitude of the film stocks. In the latitude category, we could divide it in three groups. First is film and Alexa, then is Red and F35, and then is the rest.


Over and Under Exposure Latitude

This category evaluates the latitude but having a middle point where the image is properly exposed and then the exposure is stretched over and under.

We can see now that the sensitivity evaluation meets with the latitude evaluation at this point. The film cameras perform better at over exposure and lack at under exposure. The Arri Alexa is again a very reliable camera, and the rest is pretty much the same.

Over and under exposion

A good visual comparison would be the following video from Nick Paton, ACS comparing both 7D and Alexa. Check it out!


Rolling Shutter and Compression Artifacts

In my opinion, for the evaluation in this set of test, we can divide the cameras into 3 categories. The good ones, the not so bad ones, and the ones that are terrible.

In the good ones category there are:

  • Arri Alexa
  • Sony F35
  • Kodak 5213/5219

in the not so bad ones there are:

  • Phantom Flex
  • Weisscam
  • F3
  • Red One
  • AF100

In the terrible ones there are:

  • 5d
  • 1d
  • 7d
  • nikon


This was a very subjective evaluation and in my opinion there is no way I can even give my impression. I think that for this evaluation, everyone has to look at the image and decide by themselves.


Well, lets get to the bottom of the discussion. There is simply no better camera that does everything. It all depends on questions that are not related to technology but external factors like:

  • budget or “how much is being reserved for the camera and/or camera department?”
  • aesthetic or “what is the feeling being sought by the cinematographer?”
  • final medium delivery or “where this video/film will be seen?”
  • expertise or “how well the cinematographer uses this tool?”
  • personal taste or “I don’t care what other say, I love the camera I use!”

What makes a good picture is definitely not the camera itself, but the good use of  objective and subjective visual components.


New website based on WORDPRESS!!!!

In this post I will go over all the great features that I have on my new website, as well how I built it, explaining the step by step, so anyone could build their own WORDPRESS site.

I had a BLOGSPOT website where the design limitations were upsetting. Changing to WORDPRESS not only gave me better design features, but also interaction and control features that are simply um comparable with BLOGSPOT. The bad side though is that I had to learn how to build a WordPress site from scratch. I didn’t want to use any available templates because I didn’t like them. So I ended up building my own.

Prior to this experience I didn’t have ANY knowledge of PHP, CSS, MYSQL, and DREAMWEAVER. I had to learn everything from the beginning. At first I thought it would be impossible, but it is not as hard as it seems. Of course that I have some knowledge of computer programming. If I didn’t have it, then I couldn’t do it. I don’t suggest for a person that is computer illiterate to jump in here thinking that they can just do it. It will be frustrating trying to figure and managing the gigantic amount of new information. I am definitely not the best teacher, but I will go over how I did it and maybe, just maybe, help someone who is trying to create their self-hosted WordPress site. Please, don’t expect to get all the pieces here. If you are trying to go over this route, you will have to do a lot of research and testing on your end.

It took me one week and a half to build this website. There are many steps in order to create a website totally customized as this one. The steps are: 1- DESIGN, 2 – LOCAL SETUP, 3 – PROGRAMMING, 4 – HOSTING, 5 – EXPORTING.


Instead of designing  a site from scratch I started by selecting a custom design from a library of designs that I have. The one that I liked is called Video Flick, from Press 75. I liked the feel of it and the fact that it has a lot of visual links. I started the design by changing the width of the posts and also changing the background. I changed the header for the home page to be different than the header of the post pages. I also changed a lot of little other minor things.

Most of the changes happen in the STYLE.CSS file. The best way to edit the stylesheet file is to integrate your WordPress theme with Dreamweaver.


To work your site locally and create a unique custom design, the best way is to integrate WordPress with Dreamweaver. There is a tutorial that teaches how to do this integration. I followed the steps of This tutorial got me from the noob level to better than noob, but still noob level. If you want to try the tutorial before buying it, you can always look around for alternative ways of getting it.


That’s the hardest part. As soon as I got the hang of it, it became easier. The best way to learn is by trial and error. By the fact that I was working on a local site, I didn’t worry about messing up my page. I made as many mistakes as I could. I just made sure that I had a back up so, if needed, I could reset everything. The only two files that I messed with were CSS files and PHP files.

CSS files contain the styles of each element in your page divided by category. Which in noob terms means that to center a “post content” I would have to set the category responsible for Post Content on a specific CSS file.

PHP files are like HTML files. They contain the  programming of each part of the page. The way WordPress handles pages is by calling a bunch of different php files for each part or function of the page. The header of a WordPress page is inside of the header.php for example. The post content of a WordPress site is inside of the single.php page.

The files that I changed most of the time were style.css (responsible for all the major styles of everything inside the site), header.php, single.php, footer.php, and functions.php. During this process, I did a lot of Googling and I messed up a bunch of times. As soon as I started to make mistakes, and fixing theses mistakes, I became more knowledgeable to a point of knowing exactly where to find my answers when I needed to change something.


As soon as I was done with my LOCAL DESIGN, it was time to transfer everything to a web host. There are a lot of good places to find a host for WordPress. The one that I selected was GoDaddy because my domain is register there and because they have a very easy to install platform. I know that you NEED a server that handles PHP5 and you also NEED a MYSQL database. It cost me 100 dollars for 3 years. For this money Godaddy gave me 10 Mysql databases, 10TB worth of space and unlimited bandwidth. Which is a lot for my small personal website.


To transfer everything to the web host was easy. At this point I already knew what folders to copy, what files to change, and how to troubleshoot. A key to this transfer is to keep the folder structure the way it is. WordPress has a unique way of handling the files. I didn’t mess with the structure since the beginning and that helped me to have the site without any code problems.


New Feature Film in New York

I am doing the pre-production of a new feature film based in New York.

The director called me from over there and hired me to work for him at a distance. I couldn’t physically travel to New York because I am doing physical therapy and my doctor didn’t allow me to work yet. So we agreed that I would do the scheduling, budgeting, and breakdown before the principal photography starts.

For this production I am using the Movie Magic screenwriter, Movie Magic Scheduling, and Movie Magic Budgeting. These software are really good. They are very helpful with the whole process of pre-production.

The advantages of these software over other software, like Celtx for example, is the industry standard interface. Pre-production of films in Hollywood is made the same way for a long time. Scheduling a feature film is a three-part process: 1 – breakdown the script, 2 – preparing a production strip board, and 3 – determining the final shooting schedule. The movie magic package helps a lot with this process. Little things like the color coding, break down categories, and full integration between script, schedule and budget are key to the creation of a well structured pre-production. Then we have more advanced tolls like Report Design, Day out of Days control, Red Flags features, Calendar Management, and Element linking that makes the scheduling process way more precise.

Another good aspect of the Movie Magic package is that the company who creates the software gives a couple of courses for free. Right now I don’t have time to do them, but as soon as I finish this schedule I might take some courses. I might be able to catch little and more advanced things that I wouldn’t otherwise.

The main production of the film is scheduled to start in July. I am having a lot of work to put everything together as fast and accurate as possible. So far I am doing fantastic. My job is to manage everybody schedule, solve this jigsaw puzzle, and deliver the schedule and budget in two weeks.


Encontro com Glória Perez

Pelo fato de estar me recuperando de uma cirurgia no pé esquerdo, fiquei basicamente sem sair de casa por quase dois meses. Tentei da forma que podia me manter ocupado na frente do computador, escrevendo roteiros, vendo filmes, lendo, fazendo trabalhos de edição, e fotografia. Hoje porém, na semana que comecei fisioterapia, sai de casa para algo muito produtivo.


Hoje, quinta feira, 19 de maio de 2011 teve um encontro com os profissionais da Rede Globo da área de tele dramaturgia e comércio internacional na UCLA.


Glória Perez foi uma das palestrantes num auditório pequeno de apenas 30 pessoas no máximo. Tivemos a oportunidade de conhecer e discutir o trabalho da Gloria. Não somente fizemos perguntas direta para a autora sobre seu processo criativo, como também discutimos a ênfase do mercado da Globo Internacional. Entendemos como esse mercado global esta nascendo e suas perspectivas de crescimento.


Pelo fato de ser um auditório pequeno, tive a oportunidade e o prazer de fazer diversas perguntas para a Glória, bem como para os outros profissionais que estavam presentes.


Duda Pereira, que é a diretora da Globo Universidades, uma entidade da corporação voltada para a integração empresa-escola, iniciou a palestra dando um panorama geral da rede Globo. Depois ela passou a vez para a Glória Perez.


Glória iniciou seu discurso explicando, entre outras coisas, que o trabalho dela como roteirista se baseia em 2 temas: o confronto entre tecnologia e humanidade, e o conflito humano entre culturas distintas.


Para abordar tais temas, a autora se focaliza na emoção. Tal emoção é adquirida no conflito do relacionamento dos personagens com outros personagens e dos personagens com seus próprios obstáculos internos. A história é contada através dessas emoções, e a audiência faz as conexões intelectuais necessárias para se entender a mensagem racional que esta sendo proposta subliminarmente. Emoção é uma linguagem universal, e desta forma existe um apelo comercial globalizado para tais produtos televisivos.


Glória nos explicou sobre como as telenovelas prendem a atenção dos telespectadores, fazendo uma comparação muito interessante com os folhetins. Eu aprendi que a narrativa dos folhetins e das telenovelas se assemelham porque ambas têm uma técnica de utilização de ganchos ao final dos capítulos e uma abordagem de temas populares e polêmicos. A intenção desse tipo de narrativa é prender a atenção da audiência e gerar a necessidade de se saber mais sobre o assunto. Cada sentença que a Glória dizia, era como se fosse um mês de faculdade. Aprendi bastante, porém uma das partes mais interessantes para mim foi quando pude fazer perguntas.


A primeira pergunta que eu fiz foi sobre a relação da autora com os personagens que cria. Glória nos explicou que ela se entrega 100% para a história durante todo o tempo que esta envolvida na novela. Pelo fato de trabalhar sozinha, ela acaba não tendo muito tempo para sair de sua rotina como roteirista em época de produção. Mesmo sem tempo para atividades sociais, a autora não se isola do mundo como alguns roteiristas fazem. Fiquei abismado ao saber que mesmo com o desafio de entregar um capítulo de uma hora por dia, ela mantém contato fiel com o seu público. Eu presumi que a autora faz isso pois é através desse contato que ela acaba dando forma e destino para suas histórias. Glória nos disse que depois da novela estar pronta, ela sente uma dificuldade de se desprender de seus personagens. Muito engraçada e extrovertida, Glória comparou todos os finais de novela com o Titanic. “No fim o navio afunda e todos morrem” salientou a autora. Ela completou com a declaração de que as vezes ela volta a escrever capítulos de personagens que marcaram sua carreira, só para saber como os personagens estão.


A segunda pergunta que fiz foi sobre os problemas que ela tem quando algo não dá certo dentro de seu processo criativo. Por exemplo, se ela tem a intenção de gerar uma certa emoção na audiência e acaba errando no efeito procurado. Sua resposta foi que sempre que algo não dá certo a culpa é do autor. Ela focaliza sempre na emoção do personagem, com a intenção da audiência se identificar e se emocionar com a situação apresentada. Se algo não dá certo, o que ela faz não é mudar a emoção e sim a forma de contar a mesma emoção.


Fiz mais uma pergunta sobre censura. Como os temas que ela apresenta são sempre muito polêmicos, eu quis saber se ela sofreu qualquer tipo de restrição sobre alguma idéia que ela apresentou. A reposta dela foi clara e simples. Ela nunca sofreu nenhum tipo de censura. A única restrição que aparecia esporadicamente era sobre algum tema que a sociedade ainda não estava preparada para entendê-lo. Um exemplo foi a novela Barriga de Aluguel que ela apresentou para ser produzida, porém na época o assunto era muito avançado para a audiência. Ela guardou o tema na gaveta e, quando o assunto já era de maior conhecimento público, a novela foi ao ar.


Conversamos também com o diretor da Globo Internacional Guilherme Bokel que nos explicou sobre a distribuição e produções internacionais das novelas da Globo. Ele abriu nossos olhos para o fato de que as novelas Brasileiras não podem e não devem ser comparadas com “Soap-Operas” americanas. A tradução do termo novela para soap-operas foi feita de maneira incorreta dando a impressão para uma grande parte do público norte americano que uma novela como “O Caminho das Índias” seria comparável com a soap-opera “Days of ours Lives”. Uma das grandes diferenças é que soap-operas americanas são infinitamente mais longas do que as novelas brasileiras. No Brasil uma novela tem a duração de no máximo 8 meses, onde a soap-opera Days of our Lives está no ar desde 1965. Porém a diferença primordial nessa separação é o fato de que a qualidade de produção é simplesmente incomparável. Novelas são astronomicamente melhor produzidas e custam muito mais. Como ilustração Guilherme nos disse que um capítulo de uma novela no Brasil custa por média 300 mil dólares. Se essa mesma produção fosse feita nos Estados Unidos, o valor aumentaria para uma média de um milhão e meio de dólares por capítulo.


Algo muito interessante que Guilherme nos disse foi o processo como as novelas da Globo estão entrando no mercado mundial. Atualmente quando a novela é produzida, o foco é somente no mercado brasileiro. Depois que a novela é finalizada, existe uma análise para se verificar o apelo do tema para o mercado internacional. Se existe uma demanda, a novela vai para o mercado internacional, onde o foco é na reedição dos capítulos. Em geral uma novela para o mercado internacional deve ter 150 capítulos com duração de 45 minutos cada um. Para cada território existe uma edição diferente de acordo com o gosto estético e narrativo da audiência. Por exemplo, no México a edição tem que ser mais direta sem muitos inserts fotográficos, pois a linguagem de edição da televisão mexicana fez com que o público se acostumasse com uma forma menos artística de expressão visual. Outra ênfase é na parte de áudio, onde as vozes são dubladas e as músicas substituídas por outras do território onde a novela será veiculada.


Algo que me deixou muito empolgado foi que a Globo esta abrindo as portas para produções internacionais. A globo internacional já fez diversas co-produções com outras emissoras internacionais. Um exemplo é uma co-produção da Telemundo refazendo a novela O clone. No momento a Globo está abrindo as portas para o mercado internacional com a idéia de produzir conteúdo no mercado estrangeiro.


A palestra foi muito interessante e abriu muito os meus olhos para novos horizontes. Para mim foi uma das melhores coisas que aconteceram desde que eu me machuquei jogando basquete e tive que fazer uma cirurgia no meu tendão de Aquiles. Eu tive o prazer de entrar em contato com uma das melhores escritoras do mundo, conversei com profissionais de alto padrão e pude estimular meu intelecto. Eu sai de lá com o pensamento que a Glória na verdade não escreve os personagens e sim os personagens que acabam por escrevê-la. De uma certa forma, nos tornamos o que criamos. Eu me machuquei, mas não é o machucado que me define e sim o que crio dele. Sei que tenho uma longa jornada para me recuperar, porém trilharei esse caminho passo a passo, mesmo que com o pé doendo.

AVISO LEGAL : não sou jornalista ou utilizo meu blog como fonte para reportagens. Tudo que escrevo aqui são opiniões baseadas na minha experiência pessoal. Não pretendo ferir a imagem ou o trabalho de qualquer pessoa, e sim mostrar, respeitosamente, minha apreciação a todos os indivíduos comentados neste blog. Não autorizo a divulgação parcial ou integral deste texto e me mantenho totalmente disposto a remover qualquer declaração se assim for solicitado.

Side by side comparison – AF100, FS100, F3, 5D

The new wave of large chip cameras

Hello all,

The fast explosion of DSLR shooting speed it up the development of large chip camcorders. Today the major video camcorder manufacturers are fighting for the best large chip cameras. There are 2 options in the market for the prosumer level and one option for the entry professional level.

The prosumer level cameras are:

AF100 – made by Panasonic
FS100 – made by Sony (release at the end of the summer)

Both in the range of US$5,000

The professional entry level is the Sony F3. It goes for US$15,000 with no lenses and US$18,000 with three prime lenses.

There are a lot of good places to research and understand the best option for every person. One of the best places is the personal website of Philip Bloom. He is a filmmaker with a lot of experience in all of these cameras as well DSLRs.

I took a video from his vimeo page and I removed some frames so we could compare side by side the 3 video cameras and the DSLR 5D. The full video can be seen at the bottom of the page.

Click to enlarge