Hindi
Eros’s EyeQube Studios forays into VFX with Aladin
MUMBAI: Eros International‘s EyeQube Studios has started its first visual effects post-production with Bollywood film Aladin.
Co-produced by Eros International and Boundscript, the film has a star cast of Amitabh Bachchan, Sanjay Dutt and Riteish Deshmukh. Already on floors, the movie is based on the Arabian Nights but in a Bollywood format.
Aladin is part of a five-film deal between Eros International and Sujoy Ghosh‘s production company Boundscript.
Eros International India president Sunil Lulla says, “We will be leveraging our strength into new areas by using the most talented expertise in the special effects arena through EyeQube, our recently launched visual effects company.”
EyeQube Studios is a subsidiary company of Eros International in which leading international talent Charles Darby has a minority stake.
EyeQube creative director and senior visual effects supervisor Charles Darby says, “We are approaching Aladin with the same proven methods employed on large-scale Hollywood productions. We have designed the look and feel of the show prior to filming and also been involved with the production design to help weave in our effects more naturally. Basically, this film will really surprise people, it will open their eyes to a new kind of Indian film, the visual effects for this production are well thought out and will amaze the audience.”
All the five co-produced films with Boundscript will have high-end visual effects.
“We have chosen the toughest audience for our film – kids who are exposed to the best of the best today with the Harry Potters, Lord of the Rings, hence their benchmark is higher. With Aladin, we want to present a visual delight and a film with definite positioning for children, in sync with Hollywood summer blockbusters. Through Eros‘ global positioning, we hope to present the film on a worldwide platform at par with the other leading state-of-the-art visual effects films,” says Ghosh.
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.
