Hindi
Ekta Kapoor sets up Delhi campus of ICE
MUMBAI: Ekta Kapoor has launched the campus of her media school Institute of Creative Excellence (ICE) at South Extension Delhi today. The school is headquartered in Mumbai.
Setting up an institute in the national capital stems from the belief of Kapoor for creating a benchmark in the field of education and to bequeath power to the dreams of young aspirants whilst imparting the right kind of knowledge.
Nestled in the heart of Delhi, the Institute promises to give to its student’s world-class education accumulated with wisdom to shine as the future stars of the industry. The ICE Delhi facility initially will conduct training of acting, modeling, animation and VFX, dance and young filmmaker program for Kids in the South Extension area.
In addition, the Delhi unit of ICE, which happens to be the Regional office of the media school for North Zone, will continue to market and send shortlisted students for other major specialisations such as cinematography, direction, editing, production, scriptwriting, sound recording etc to Mumbai. Students of ICE will have the flexibility of learning as per their convenience as various courses would be available in two modes (full time and part time).
Talking about expanding in Delhi, joint managing director of Balaji Telefilms and Member of ICE Academic Council Kapoor said: “There is plenty of talent in our country today and it just needs to handpicked and channelised correctly. I want to reach out to masses from all over our country and provide them with the right kind of expertise that will help them go a long way. Looking at the kind and amount of talent that comes from Delhi, we felt it was best we set up an institute in their home city. All doors are open at ICE Delhi for those with the right kind of grit, eagerness and enthusiasm.”
ICE CEO Anurag Gupta averred, “Setting up a campus in Delhi is just the beginning and have many more in the offing in the national arena. To cater to the industry’s growing demands for trained actors; ICE will ensure that they take those extra measures to make certain that they churn out the most superior quality talent in the country.”
After having trained over 700 students in Mumbai, ICE is finally set to kick start its power-packed curriculum for its Delhi Audience.
Earlier this month, an ICE wing was set up in Bangalore on 9 June.
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.
