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The Novel Barroz is about young Isa befriending
'a treasure guarding ghost’  ... and, along with the prankish grandpa,  having a whale of a time.

Yet below this rollicking surface lies the fact that Isa is more spooky and ghoulish than the real ghost!
Following serious mischief and toxic misbehavior at her Darjeeling Residential School, Isa is presently under suspension. 
(excerpt from the casting docket)

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Monitoring Takes in 3D

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Flags

 

Silk was used for military and ceremonial flags. They often bore complicated

allegorical or heraldry embroidered or painted on by master artists often with

different designs on each side.

 

<<< on the left

1638 Victory Flag, Portuguese over Dutch at Marmugao Fort

 

The flag is made up of silk satin material, with ‘trim’ embellishments around the

edge of the flag. There is also a lot of hand embroidery in gold thread “ Bullion wire”

(similar to present day ‘zardosi’ embroidery) and applique work to decorate the flag. Also the designs on both sides of the flag are different.

 

Woolen bunting is a lightweight thin fabric prized for Nautical use because of its fly

ability and resistance to rot from exposure to seawater. Linen was used often for the

header and designs on such flags. Linen was also used for some ‘service’ flags

because of its inexpensive (at the time due to being the most common home spun)

nature.

THE  MAKING  OF  17th CENTURY  

PORTUGUESE  FLAGS  for the film >>

embroidery & lacework

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STORYBOARD -  a total of       

1480 frames pencil sketched!

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Baburajan       Baiju              Sethu            Alice

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      Anil.         Shyam.        Sreekumar.    Adwaith.   Alwin.          Libin 

  Design Team  3D Modelling & Set Construction  

Coat of Arms

The coat of arms on an escutcheon forms the central element of the full heraldic achievement which in its whole consists of shield, supporters, crest, and motto. A coat of arms is traditionally unique to an individual person, family, state, organization or corporation.

The Portuguese Coat of Arms represents has five smaller coat of arms in the center, representing the 5 wounds of Jesus Christ when crucified, these are also a symbol of the D. Afonso Henriques gratitude for the divine victory during the battles to conquest Portugal. Since very early, the round bottom shield has been the preferred shape to display the coat of arms in Portugal, causing this shape to often be referred to as the "Portuguese shield".

Heraldry / Coat of arms / Family Crests. It is a question asked out of snobbish pride (or envy). Coat of arms proves one of the most interesting demonstrations of the centralization of power in the person of the monarch before 12th century.

Having a coat of arms was a mark of belonging to the warrior class and being entitled to knighthood, even if one was so poor that one could barely afford sword, armor, and horse.

Jan Huygen van Linschoten  (1563 – 1611)

was a Dutch merchant, trader and historian.

He traveled extensively along the East Indies regions under Portuguese influence and served as the archbishop's secretary in Goa between 1583 and 1588. His paintings – one such below, gives details of the life and times of Goa during 16th century.

During his stay in Goa, he meticulously copied the secret charts page by page. Even more crucially, he provided nautical data like currents, deeps, islands and sandbanks that were absolutely vital for safe navigation, along with coastal depictions to guide the way.

 

In 1596, he published a book, Itinerario (later published as an English edition as Discours of Voyages into Ye East & West Indies), which graphically displayed for the first time in Europe detailed maps of voyages to the East Indies, particularly India. The publication of the navigational routes enabled the passage to the East Indies to be opened to trading by the Dutch, French and the English. As a consequence, the Dutch East India Company and the British East India Company would break the 16th-century monopoly enjoyed by the Portuguese on trade with the East Indies

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Bradley Cadman

Advising Digital Matte Painting for VFX re-creation of 17th Century Goa.

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    Josey Joseph.       RK.        Sheker.            Tiju   Motivators  

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       Writer         Vs.             Researcher        

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D'Gama's  Coat of Arms

Cristavao D'Gama, after impressing upon King John his impeccable lineage, reached Goa to take up command 100 years after his great grandfather Vasco Da Gama established the Portuguese settlement.


When Adil Shah II of Bijapur invaded Goa, D'Gama stormed and captured Adil Shah's fort by leading 3 galleons up river Mandovi.

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Thus he earned the Coat of Arms which symbolized Portuguese victory. With his wife Lady Theresa, he established a settlement there and built the mansion named after him.

PRODUCTION  DESIGN

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 Tiju Kurian.   Sureshkanthan

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Sasidharan. Maria Branco

   Josey Joseph.          Jensen

Sasidharan.     Jensen.     Gauthami

Barroz Research Team 

 Goa Archives

Art Director Santhosh Raman

designing the treasure cellars

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Nambiathiri and Sooraj Varma

Discussing 17th Century Goa frames for a song sequence.

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SONG  SEQUENCE

Theresa D'Gama's  Palanquin

at the Market Place

 

Golden Goa circa 1650 A.D.

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FUSTA MAKER  - Kuttan Puthur (right)

with Art Assistant Sooraj (left)

Maria Jose Branco 

Consultant - Production Design 

providing research input on fusta boat design

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<< The fusta is a galley or undecked rowing boat, with one mast. For an illustration see Linschoten's ... See Appendix E. 3 The Sabayo or Governor of Goa.

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FUSTA BOAT SONG  SEQUENCE. 

Composing musical interludes as per the storyboard shot division

 

Doriachea lharari,

                                      Upon the waves of the sea,

Chondrimachea uzvaddari,

                                      And in the light of the moon,

Hea mojea kensanchea fantieri,

                                      Upon the pleath of my hair,

Jurar zatam Deva mukari.

                                       I give an oath in the presence of God.

Suggestion for Fusta  - Medieval Goan BOAT SONG    Doriachea

Nadia Rebelo singing,  Pedro Novais writing.

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Chusmo/ Refrain:

Io rê moga, choi rê mhaka,

                                       Come my love, look at me,

Mogache dolle lai rê mhaka.

                                       Give me a loving look.

Predating Fort Aguada by half a century, a second, smaller fort that crowns the headland jutting into the narrowest stretch of the Mandovi, almost facing the capital city Panjim, is the Reis Magos Fort. This Fort, surrounded by sturdy laterite walls studded with typically Portuguese turrets, was erected in 1551 to protect the narrowest point at the mouth of the Mandovi estuary. It was enlarged subsequently on different occasions and finally re-erected in 1707. The fort formerly accommodated viceroys and other dignitaries newly arrived from, or en route to, Lisbon, and in the early eighteenth century proved a linchpin in the wars against the Marathas, who were never able to take it. [WIKI]

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Reis Magos Fort

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FUSTA ENGINEERING DRAWING

by K. Sheker

FUSTA SET DESIGN

by Art Director Santhosh Raman

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Art Coordinator Sunil Das

discussing

Digital Compositing & Set Extension

with

DoP Santhosh Sivan

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Set Construction

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VFX Set Extension

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Actual Location

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From the bell tower,

a ghost laments ....

"Isabella, .... Isabella ... "

(song sequence)

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Bom Jesus Church Bell cast in 1644

DoP Santhosh Sivan

at Old Goa Bell Tower

Location Recce

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Original Background

VFX  Enhancement (Digital Matte Painting)

for the 17th Century parade sequence below

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Ghost Walks Walls
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RESEARCH dockets .pdf

Set Decoration                     Costumes           

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Costume Design 
Jyoti Madnani Singh

A note on Barroz’s screen look

According to the Linschoten (A Dutch merchant and traveler during 17th century) –

“The gentlemen wear peaked beards and moustaches turned up at the ends and Fidalgos swagger with ostrich feathers stuck in their wide-brimmed hats …riding on horses…caparisoned with brocade and velvet.”

Barroz, as the principle servant of D’Gama usually wear apparels of the Indian servers to their noble Portuguese masters.

 

A research note on the servant dresses. During the 17th century the wealthy showed off by dressing up their servants in grand clothes, probably their hand downs. Similarly Barroz could have worn clothes, which could be similar to the western clothes that D’Gama wears. Also there could be nuances of Traditional Indian aspects in fabrics, jewelry or other accessories. The men had the right upper ear pierced to wear bhik bali (a cluster of pearls embedded on a well-designed gold base); on the lower part of the ear, they wore a golden ring with emeralds known as zod. Sometimes pearls were suspended on the gold ring. This ornament was known as ehoucuddo. The men also wore a gold chain around the neck (contto).

.

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A note on affluent family clothing for children

The children of both the sexes belonging to rich families had their sheets of gold or silver to cover their nakedness whereas the poor had a piece of cloth tucked or stitched to a cord which was tied around the waist. The girls wore cotton or silk petticoat and wore rosaries round their necks or carried them in their hands.

A note on the fabrics, pigments and embroidery of the period

There were almost 80-90 varieties of clothes. Export to Portugal and other places and ports for exchange of other goods. Textile trade in the Asian textiles is because of the hostilities between the Portuguese and the Dutch. 17th century textile export to Lisbon reduced due to the increase in trade of precious stones, as there was no custom duty for precious stones. The Dutch provided Portuguese home demands, eventually the closing of Iberian ports and confiscation of Dutch cargoes by King Philip II. Portuguese started importing directly. Fabrics were made from natural dyes, thus the colours were much muted. Lac, madder, indigo, myrobalan and other roots, berries, bark, leaves,wood and fungi.

Excerpts from the Costume Research Docket

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Birthday Celebration
of the project patron
 
Kuttappan sar (N.G. John)

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