The Kathanar group as of late delivered photographs of entertainers snared to the virtual creation gear for the dream time frame dramatization, in view of the well-known legend of renowned ninth-century exorcist priest Kadamattathu Kathanar. The preproduction pictures turned into a web sensation, with many remarking that they looked other-common. It was stunning to see Malayalam films utilize full-body filters and the infrared biped movement catch innovation spearheaded in Hollywood movies like Jungle Book and Lion King.
Talking about the VFX work, director Rojin Thomas says “, Usually an Indian film, with big-time special effects, uses a Hollywood technician to supervise the workflow, but we have been thinking why not employ the local talent that has, in fact, worked on major western projects. We have imported the same equipment and technology used in big Hollywood films.”The virtual creation and CGI are going by Senthil and Nathan and Vishnu Raj, with Neil D’Cunha as DoP.
The film, with Jayasurya playing the title character, is an innovative and fictionalized adaptation of the Kathanar legend, saturated with the set of experiences and culture of the time. “The enhanced visualizations are not the feature of the film; we are utilizing this to recount the story in the most captivating manner and to make the content more viable,” clarifies Rojin.
Writer R Ramanand, who has composed books on the historical backdrop of Kerala’s ceremonies, concurs. Giving a trace of his perception on the tale of the minister who lived in north Ernakulam, Ramanand clarifies that Kathanar was a “harsh and wild person” who had lived among backwoods occupants and was “Kerala’s most noteworthy apparition tracker and had bound Kalliyankattu Neeli, maybe our most horrible yakshi”. “The Kerala of our story is very unique and not one that everybody is exceptionally mindful of. We know about the legend through the compositions of Kottarathil Sankunni, and through prior movies and serials. However, this film dives more into — maybe less-known—customs of magic and mystery. Thus the assignment is to reproduce this outwardly rich and delightful time. Furthermore, the innovative exertion being placed into this is well-suited to catch this period.”
Rojin says that for this film, after the prearranging, around 70% of the work will be finished before the shoot, with pre-representation, idea and visual storyboards, and such. “The photos delivered via online media were of the most common way of taking full-body filters, to plan the look and way of dressing. The ensemble for the activity arrangements will be of more adaptable material than those utilized for close-ups, for instance,” he says.
The film is focused on a skillet Indian and a worldwide crowd. How might a tale about an old Kerala minister appeal to a more extensive crowd? “What intrigued me about this recounting the Kathanar story was, truth be told, the set of experiences, which we will describe in an engaging way. Kerala was an old port that was exchanged globally. We will bring viewpoints like this into the film to speak to a worldwide viewership. Also, just when we do this, can a task on a particularly gigantic material, be feasible for the Malayalam business,” says Rojin.