Hindi
First 3D stereoscopic film in Malayalam in offing
MUMBAI: After the success of James Cameron’s Avataar, the pace of making 3D stereoscopic films has been growing across the world. In India too, the pace has picked up after audiences took a liking for Vikram Bhatt’s 3D stereoscopic film Haunted.
Among many other filmmakers who have announced 3D films is a group of ten animation enthusiasts hailing from Kozhikode district who are busy making the first stereoscopic 3D animation film in Malayalam.
The one-hour film titled Circus Kaduva, specially meant for children, is being produced under the banner of Carrot Creations. It also sheds light on the importance of protecting the environment.
Said to be the first-of-its-kind venture in the state, the advantage of viewing the animation film is that it can be watched in the normal mini screens and computer monitors using the Red-blue stereoscopic glasses, according to director Razak Vazhiyoram.
The film is being produced using the Maya 3D software. “It is a one-hour film and will generate lot of fun for the children,” Vazhiyoram said.
The team is planning to market the film by releasing the home video along with the Red-Blue stereoscopic glasses that will be imported from China
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.
