Shooting film songs

Picture the song: The power of coffee in ‘Jaane Kaise Kab Kahaan’ from ‘Shakti’

After a lengthy seduction by Smita Patil, Amitabh Bachchan finally takes the hint.

Ramesh Sippy’s Shakti (1982) is an interesting experiment in dismantling Amitabh Bachchan’s iconic image, which had been built up in the 1970s through such hits as Zanjeer, Sholay, Deewar and Don. Bachchan plays the familiar character of a drifter untethered from social niceties, but the Vijay of Shakti is also marked by inchoate anger and diffidence. Vijay is kidnapped as a child, and is witness to the moment when his police officer father (Dilip Kumar) decides to sacrifice the boy rather than give in to the kidnapper’s demands. The boy is rescued but grows up hating his father.

Vijay broods endlessly and wanders about aimlessly, and it is during one of his perambulations that he runs into Roma (Smita Patil). In a sequence that was recycled by Mani Ratnam in Agni Natchathiram (1988), Roma is being harassed by a bunch of toughs on a local train. Vijay swoops in to rescue Roma, and accompanies her to her residence later.

Thus begins an unequal relationship, a rare one in which the woman takes the lead. Vijay is unemployed, but Roma works as a singer at a hotel. She is bold and independent-minded and is not afraid to confront Vijay’s reticence with her assertiveness.

“I live alone,” she tells Vijay. He is shocked: “You live alone?”

“I make good coffee,” she says in an open invitation. Vijay blushes: “Some other time.”

She tells him all about herself. She is obviously attracted to him, but Vijay, in keeping with his character, reins it in.

Roma openly serenades Vijay when he comes to the hotel to watch her sing. How many times must a woman offer to ply a man with coffee? Roma is persistent, but she also knows how to play the waiting game.

“You sing very well,” he tells her. “I know,” she coolly replies. Smita Patil had a mixed record in commercial Hindi films, but in Shakti, Sippy and writers Salim-Javed gave her one of her nicest roles.

The elaborate foreplay culminates in RD Burman’s lovely tune Jaane Kaise Kab Kahan. Sung by a thick-voiced Lata Mangeshkar and a velvet-throated Kishore Kumar, the song with woodpecker-like beats rolls out amidst sprints through a park, close-ups of flowers, and a love-making scene by a lake. Roma and Vijay are draped in thick blankets, and an inviting fire burns nearby. Roma looks ready, Vijay is still diffident, but Roma’s desire triumphs. He eventually moves in with her, but there is never any doubt about who made the first move.

Jaane Kaise Kab Kahan, Shakti (1982).
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Not just for experts: How videography is poised for a disruption

Digital solutions are making sure it’s easier than ever to express your creativity in moving images.

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Sure enough, in the 21st century, entire creative industries are getting democratised like never before. Take photography, for example. Digital photography enabled everyone to capture a memory, and then convert it into personalised artwork with a plethora of editing options. Apps like Instagram reduced the learning curve even further with its set of filters that could lend character to even unremarkable snaps. Prisma further helped to make photos look like paintings, shaving off several more steps in the editing process. Now, yet another industry is showing similar signs of disruption – videography.

Once burdened by unreliable film, bulky cameras and prohibitive production costs, videography is now accessible to anyone with a smartphone and a decent Internet bandwidth. A lay person casually using social media today has so many video types and platforms to choose from - looping Vine videos, staccato Musical.lys, GIFs, Instagram stories, YouTube channels and many more. Videos are indeed fast emerging as the next front of expression online, and so are the digital solutions to support video creation.

One such example is Vizmato, an app which enables anyone with a smartphone to create professional-looking videos minus the learning curve required to master heavy, desktop software. It makes it easy to shoot 720p or 1080p HD videos with a choice of more than 40 visual effects. This fuss- free app is essentially like three apps built into one - a camcorder with live effects, a feature-rich video editor and a video sharing platform.

With Vizmato, the creative process starts at the shooting stage itself as it enables live application of themes and effects. Choose from hip hop, noir, haunted, vintage and many more.

The variety of filters available on Vizmato
The variety of filters available on Vizmato

Or you can simply choose to unleash your creativity at the editing stage; the possibilities are endless. Vizmato simplifies the core editing process by making it easier to apply cuts and join and reverse clips so your video can flow exactly the way you envisioned. Once the video is edited, you can use a variety of interesting effects to give your video that extra edge.

The RGB split, Inset and Fluidic effects.
The RGB split, Inset and Fluidic effects.

You can even choose music and sound effects to go with your clip; there’s nothing like applause at the right moment, or a laugh track at the crack of the worst joke.

Or just annotated GIFs customised for each moment.

Vizmato is the latest offering from Global Delight, which builds cross-platform audio, video and photography applications. It is the Indian developer that created award-winning iPhone apps such as Camera Plus, Camera Plus Pro and the Boom series. Vizmato is an upgrade of its hugely popular app Game Your Video, one of the winners of the Macworld Best of Show 2012. The overhauled Vizmato, in essence, brings the Instagram functionality to videos. With instant themes, filters and effects at your disposal, you can feel like the director of a sci-fi film, horror movie or a romance drama, all within a single video clip. It even provides an in-built video-sharing platform, Popular, to which you can upload your creations and gain visibility and feedback.


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This article was produced by the Scroll marketing team on behalf of Vizmato and not by the Scroll editorial team.