Tammiraju

Tammiraju’s editing style? Wildly underrated. If you’ve ever sat through Eega (2012), Magadheera (2009), or Baahubali 2: The Conclusion (2017), you’ve seen his fingerprints all over the pacing and wild visual flair. Eega, for example—like, who else could keep a story about a housefly gunning for revenge actually gripping? Scenes just snap from emotional to bonkers action, and somehow, it works. His cuts aren’t just technical; they’re loaded with energy, like he’s tweaking the adrenaline of every sequence. Magadheera’s this whole fantasy epic, reincarnation, warriors, all that jazz—Tammiraju keeps everything moving without losing the plot or the big, sweeping shots. It just flows, never bogging down, and, let’s be honest, that’s not easy when you’re juggling sword fights, horse chases, and reincarnated lovers. You feel the tension ramping up just from how the scenes are stitched together. Then there’s Baahubali 2: The Conclusion. Massive spectacle, battles, betrayals, the kind of film where a lesser editor would totally get lost in all the CGI and drama. Not Tammiraju. He wrangles the chaos, making sure each twist lands and every big moment has room to breathe. The transitions pack a punch—it’s slick, but not in a way that feels mechanical. There’s heart in it. If you ask fans, they’ll tell you: these blockbusters wouldn’t hit as hard without his behind-the-scenes magic.