Movies
PVR Cinemas partners with Cinionic to provide 100 percent laser projection
MUMBAI: PVR Cinemas has announced an expanded preferred partnership agreement with Cinionic, the world’s leading provider of laser cinema solutions, to power 500 screens with Barco Series 4 4K laser projection. On completion of the rollout on new and existing screens, PVR will be the first exhibition chain in India to go 100 percent 4K RGB laser projection. The announcement was made at CineEurope, a European convention and trade show for major, regional and independent cinema exhibitors, which is taking place this week in Barcelona.
The Barco Series 4 family from Cinionic features next generation 4K laser projection that supports sustainability with reduced waste, lower energy consumption, and an extended lifetime. The thoughtfully designed Series 4 moves away from the use of consumables, utilizing reusable components like air filters, and the laser light source eliminates the need for lamps and their subsequent replacement and disposal. All models within this leading laser projection range are also exceptionally efficient, reducing power consumption with smart power management, minimized heat dissipation, and increased operational efficiency.
PVR chairman & managing director Ajay Bijli said, “PVR is aligned to the Climate Action SDG goal of the United Nations and has committed to lower its emission and reduce its carbon footprint. The BARCO Series 4 4K RGB laser projectors is a sustainable investment from PVR as part of its endeavor to make changes in operational practices for reducing emissions and conserve energy for a sustainable future”.
This announcement continues a long-standing partnership between PVR and Cinionic as together they work to elevate the cinematic experience for audiences in India. Laser Projection by Cinionic delivers exceptional presentation quality with vivid colours, high brightness, and clear on-screen images. Through the expanded agreement with Cinionic, PVR will also benefit from Cinionic’s enhanced services with Cinionic Cloud, a digital platform for managed services through remote connectivity, improving the performance and optimizing the cost of operation over time. Cinionic services help to ensure worry-free operations for cinemas, by monitoring the health of the projector, predicting service interventions in advance, and minimizing screen downtime.
“PVR continues to enhance the theatrical experience for India, offering cinematic excellence and a commitment to a sustainable future. We are proud to expand our strong relationship with PVR to deliver a fully laser-powered theatrical experience. The eco-friendly Barco Series 4 offers audiences across India a greener way to go to the movies” said Cinionic CEO Wim Buyens.
In observing evolving trends in the cinema exhibition industry, energy-efficient and eco-friendly product designs are gaining momentum. Energy is no longer simply an internal cost factor. Today’s leading exhibitors are looking for ways to reach their sustainability goals without sacrificing quality and identifying how every part of their cinema value chain can contribute towards supporting a greener value proposition.
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.
