Hindi
Reliance MediaWorks launches in-cinema 3D advertising
MUMBAI: Film and entertainment services company, Reliance MediaWorks Ltd., launches 3D conversion services for advertisers.
The first advertisement to be converted into 3D is for Reliance Netconnect’s ‘It’s Fast. Are You?‘ campaign, which includes three films.
The films were scripted and shot by Grey India keeping the 3D format into consideration and would be screened across BIG Cinemas from 26 August.
The company’s bouquet of 3D services includes stereoscopic 2D to 3D Conversion, 3D services for any type of 3D alignment issues, image and detail enhancements, grain and noise management and on-set consulting,DI grading for 3D, creation and handling of 3D DCPs and 3D camera services.
Reliance Communications Group head – brand and marketing Sanjay Behl said, “With our world-class network quality and wireless data penetration in over 1000 towns, we are confident of delivering the fastest Wireless Broadband speed in the country, tested at levels of upto 28 MBPS, powered by the superior MIMO Technology. The ad campaign demonstrates that Reliance Netconnect‘s GSM and CDMA wireless data product range delivers the best broadband speeds in over 1000 towns across the country, thereby resulting in a delightful customer experience.”
A member of the Reliance group, Reliance MediaWorks currently operates one of the largest Stereoscopic 2D to 3D Conversion services facilities in India at Navi Mumbai and has a team of 400 artists.
The company has recently completed VFX and 3D Conversion work for the remake of Conan the Barbarian and has also provided 3D solutions for movies such as Avatar, Journey to the Center of the Earth, U2, X Games 3D: The Movie and Step Up.
According to an official statement, with the increased consumption of 3D films in the country, In-cinema 3D advertising has the potential to capture a significant share of the OOH pie in India.
Reliance MediaWorks CEO Anil Arjun added, “There are over 230 3D cinema screens in India and they offer an engaged and seated audience with a leisure mindset. By using our hi-end 3D conversion services, advertisers can offer an immersive, fun and innovative experience to this captured audience, which will help strengthen the brand recall. With technology advancements in 3D televisions, in the near future we will also witness 3D advertising reaching home entertainment.”
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.
