Hindi
Prasad Lab converting “Sivaji – The Boss” into 3D
MUMBAI: 3D movie making, DI and VFX provider Prasad Lab will be converting Rajnikant starrer “Sivaji- The Boss‘ into 3D.
Prasad Group is the only company in India to provide world class solutions for 3D shooting and 2D to 3D conversion. No wonder, when the decision to convert “Sivaji‘ from 2D to 3D was taken, the obvious choice for this job was Prasad Lab.
“Sivaji-The Boss‘‘ is the first film in India which is being converted to 3D from 2D.
Prasad Lab chairman Ramesh Prasad said, It is really great news that the world is moving towards 3D. People love to watch action films in 3D as it gives them thrill and chill.‘Sivaji‘ has all the ingridients to make it an out and out entertaing film in 3D. We have seen some portion of this film‘s 3D version and we all are very happy with the final result. I am sure with the release of this film many more action films will be converted into 3D.”
Director Remo Fernandes is now making film “A B C D‘‘ into 3D and all the technical support for 3D is being provided by Prasad Lab.
Recent 3D films including Raaz 3, Dangerous Ishq, and Haunted have all been post produced at Prasad Group‘s studio in Mumbai. Prasad Group‘s digital studios are equipped with some of the best colour grading suites incorporating the latest technologies including 4k 3D projection systems, hardware and software.
Prasad Group provides the complete range of end-to-end 3D solutions including 3D rigs and cameras, professional 3D technicians, Data Management, DI, VFX, Stereophonidc Conversion, 3D Digital Cinema prints and film prints.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
