Hindi
Adlabs to premiere ‘Journey to the Center of the Earth’ in 3D format
MUMBAI: Adlabs, part of the Reliance Anil Dhirubhai Ambani Group, will release 3D Hollywood movie Journey to the Center of the Earth in Big Digital 3D at Adlabs’ cinema in Vashi, Navi Mumbai.
Hollywood studios are backing the new 3D format with animation hits like Disney’s Chicken Little and concert films like Miley Cyrus’ Hannah Montana and U2 in US and Europe.
Adlabs claims that it is bringing the experience to India with Big Digital 3D. Adlabs had also launched 6D cinema in Agra earlier this year through a partnership with Israel-based Cinema Park Network.
“The Big Digital 3D experience is a quantum leap from old analogue 3D that involved red-blue glasses or cumbersome headgear that gave you a headache,” said Adlabs Digital Cinema COO Patrick von Sychowski. “Within a few years most Hollywood blockbusters are expected to be made in digital 3D and we at Adlabs are bringing this experience to India for the first time.”
Based on the Jules Verne novel, Journey to the Center of the Earth is the first live-action feature film to be shot and released entirely in digital 3D.
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.
