In Layout, Pinto and Samuel began the construction of each one of the final shots, by setting the framework, the acting of the characters and the scenarios, according to directing intentions expressed previously in the storyboard.
Shot 97
Hi, I am Samuel Alves, author of the shot 97's layout, the scene in which Mário's father, who's sitting on a chair in his living room, enters a war memory and vanishes away from the present time.
The challenge was to get Mário's father racing away from the couch with the mental strength of a young man trapped in an old body. If youth is linked to the strength and agility as opposed to old age, the challenge here was to strike a balance between fast but slightly clumsy movements, featuring a heavy and fragile body.
Shot 23
Hi everyone, I'm Alexandre Pinto, responsible for creating the shot 23's layout, one of my favorites since I was introduced to the storyboard. This shot portrays an intense, unceasing anger contamination that spreads amongst the people in the crowd.
José Miguel intended with this shot to show the different characters evolving to a single living mass, breathing heavily, with the city in the background. Taking into account the continuity with the previous shot, 22, in which all the characters begin to climb up the cars, I initiated the cars' layout design, by placing Mário and the 'front line driver' on top of the image, slightly decentered.
After finding the key characters' position for this action, I started by placing the secondary ones, taking into account the composition of how the final shot should end up.
My layout working process:
1. First I do a quick sketch, depicting the characters as simple geometric solids (cobblestones, cubes and spheres);
2. On these grounds, I draw the characters' expressions, clothes and other details;
3. In a new layer I draw the characters' outline;
4. From this outline, I paint a baseline color to separate the characters and improve the reading group;
5. Finally, I do their own and projected shadows, fundamental for marking a three-dimensional body and to improve its integration with the background.
1. First I do a quick sketch, depicting the characters as simple geometric solids (cobblestones, cubes and spheres);
2. On these grounds, I draw the characters' expressions, clothes and other details;
3. In a new layer I draw the characters' outline;
4. From this outline, I paint a baseline color to separate the characters and improve the reading group;
5. Finally, I do their own and projected shadows, fundamental for marking a three-dimensional body and to improve its integration with the background.
With the finished layout, these shots were sent to the next phase, the animation.
