Hindi
India to be promoted as filming destination in ‘Incredible India’ campaign
NEW DELHI: India is to be aggressively promoted as a filming destination.
The Incredible India Campaign and the cinemas of India are to be promoted at various international film festivals in India and overseas, thanks to a memorandum of understanding between the Information and Broadcasting and Tourism Ministries.
The MoU is expected to enhance the reach of “Incredible India” through the medium of cinema, develop synergy between tourism and film industry and provide a platform for enabling partnerships between the Indian and global film industry. It was signed today in the presence of I&B Minister Ambika Soni, Tourism Minister Subodh Kant Sahay, and Minister of State for Tourism Sultan Ahmed.
It is expected that this innovative partnership will facilitate the promotion of India as a filming destination for foreign producers. In 2011-12, 20 permissions were granted for shooting in India, down from 20 in the prior year and 23 in 2009-10.
The aim is to create and build upon a Film Tourism vertical of Incredible India Campaign by promoting cinemas of India as a sub-brand of ‘Incredible India‘. The emphasis will be on its linguistic/cultural/regional diversity. This will also provide an impetus to frame policies and guidelines for facilitating shooting of International films in India and promote India as a filming destination, both for international and domestic film producers.
Another key objective is to initiate dialogue with State Governments and Union Territories within India for development of locations for film shootings and promotion of tourism.
At the institutional level, the attempt is to constitute a National Level Committee for coordination with various stakeholders for promotion of India as a film and tourism destination and for facilitating visas for film units from overseas. On some of the key aspects, the roadmap will be charted out through mutual consultations between the two ministries.
The Tourism Ministry would provide budgetary support for identified film festivals, markets and events. The Ministry would facilitate publicity through the available content based on existing audio visual material and print designs. The joint participation of the two ministries would cover the Cannes Film Festival and Market, International Film Festival of India in Goa including the Film Bazaar, and the European Film Market at Berlin.
The agreement reiterates the branding of ‘Incredible India’ at critical outreach positions at the identified film festivals markets and events. This includes the display of the logo of Incredible India, through wall hoardings, stalls and the screening of the promotional film.
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.
