Hindi
&pictures to premiere ‘Transformers: Age of Extinction’ on 2 December
MUMBAI: Enviable structures, remarkable visual effects and electrifying action sequences- The iconic Transformers series has never failed to flabbergast the viewers. To flavor up your weekend, &pictures, Naye India Ka Blockbuster Movie Channel is all set to premiere the blockbuster film Transformers: Age of Extinction on Friday, 2 December at 8 pm. The film is the fourth installment and one of the highest grossing film of the popular live-action franchise.
Directed by Michael Bay, the film is a sequel to the 2011 hit ‘Transformers: Dark of the Moon’ and starts five years after the Battle of Chicago. Transformers, who apparently have been granted refuge, are hunted down by Harold Attinger (Kelsey Grammer), an undercover officer. He believes that the entire Transformers’ clan should be eliminated from Earth and is helped by Lockdown. In order to escape them, Optimus Prime (Autobots leader) and his gang turn to a mechanic (Mark Wahlberg), his daughter (Nicola Peltz), and her back street racing boyfriend (Jack Reynor) for help. What follows next is an exciting and breath-taking journey of the Autobots fighting the Decepticons to save the planet.
Backed by ace graphics and swanky cars, ‘Transformers: Age of Extinction’ boasts of new characters and fascinating action sequences. A technical marvel, the film creates intrigue in the minds of viewers stating it to be the end for Autobots. Is it truly their final encounter? Catch the exciting battle between the Autobots and the Decepticons on Friday, 2 December at 8pm.
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.
