Hindi
Film Facilitation Guide issued for permission to shoot in India
NEW DELHI: A Film Facilitation Guide has been prepared by the Information and Broadcasting ministry as part of its single single-window Film Facilitation Unit for persons wanting permissions to shoot in India.
The guide is for both shooting of feature films/reality TV show and / or commercial TV serials by foreign film makers in India. The guide also has an application form and has detailed documents that should accompany the form. A demand draft of $ 225 (equivalent Indian Rupees) has also to be submitted.
The Film Facilitation Office (FFO) was set up with a view to promote and facilitate film shootings by foreign film makers in India. The functions of the Office would include acting as a facilitation point for the film producers in assisting them to get requisite permission, disseminate information on shooting locations and the facilities available with the Indian film industry for production/post production and work closely with state governments in assisting them to set up similar facilities. The FFO is housed in and operated by National Film Development Corporation office in Delhi.
The permission to shoot will normally not take more than three weeks to process. The permission letter issued by the government will facilitate permission from other local authorities, which may, in some cases, need to be obtained directly from these authorities.
In case any living personality is portrayed in the film as a character, the script has to be shared with that personality or his/her legal heirs, before beginning the shooting, and obtain a ‘No Objection’ to prevent any legal hassles or suits.
If the film is a co-production, a copy of the agreement between the company and the Indian party indicating the role of each party, its responsibilities and liabilities, must accompany the application.
If a film requires shooting in the scenic but sensitive areas of Jammu & Kashmir, the North Eastern India or border belts, and/ or Restricted/Protected Areas etc., the application will be considered for specific approval in consultation with the Home ministry. In such cases, more time may take for processing the application.
The details can be submitted also to the Indian missions in the country from where the filmmaker is applying, indicating intention to shoot in India. The mission will issue visas in the normal course.
An expert from a panel constituted by the FFO will scrutinize the script. If considered necessary, to facilitate the shooting, a liaison officer may be attached to a film shooting team. Where a liaison officer is so attached to the shooting team, the government will bear his expenses.
In exceptional cases, the filmmaker may need to show the completed film to a representative of the government, in India or in an Indian mission abroad, before its release anywhere in the world with a view to ensure that the film has been shot in accordance with the scrutinized script and that the film has nothing objectionable from the point of view of presentation of a correct and balanced perspective on the topic covered.
During the shooting of the film if it is felt that any material changes or deviation from the approved script are necessary, permission may be taken from FFO before shooting these scenes.
At the time of receiving permission for shooting in India from the FFO, an undertaking will also have to be submitted, the text of which is on the website mib.nic.in
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.
