Hindi
Paramount releases game based on ‘Ironman’ movie
MUMBAI: Paramount Digital Entertainment, a division of the Hollywood studio major Paramount, has announced that the Iron Man: Aerial Assault game for the iPhone and iPod touch is available on the Apple App Store.
The game is based on the 2008 Marvel Studios film, released by Paramount Pictures.
The game gives players the opportunity to play as Iron Man and engage in aerial combat and challenges that require quick maneuvering and accurate shooting. As players navigate through high altitude battles, they will soar through 12 different levels of airborne combat where menacing enemies will not rest until they have conquered the skies. To aid in the mission, players have access to high-powered weaponry and strategic flying mechanisms that will serve to eliminate those that stand in Iron Man‘s path.
Using an upgradeable, high-powered armor developed by Stark Industries, players will hone their skills by using a variety of weapons to battle through wave after wave of enemy units. With the touch of a thumb, players can access, charge and fire an arsenal of state-of-the-art weapons including repulsor blasts, missiles, and the devastating Unibeam.
Developed by doublesix, the game utilises the innovative technology in iPhone and iPod touch.
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.
