Hindi
Prasad Lab flooded with 3D offers after Raaz 3 success
MUMBAI: Post the release and huge success of Vishesh Films‘ Raaz 3, the 3D wave seems to be catching on Bollywood in a big way.
Prasad EFX, India‘s leading digital post production services company, has provided the complete range of 3D movie-making solutions for Raaz 3.
Since many producers are planning to make their films in the 3D format, Prasad Lab has been flooded with 3D offers. Prasad EFX has also provided Digital Intermediate (DI), VFX, Film Prints and Digital Cinema Prints for this mega hit film.
Vikram Bhatt, the director of Raaz 3, had himself confessed at the success party of his film that the 3D impact did wonders for the film and it played a big role to make the film a hit. So happy with the job of Prasad Lab, Vikram Bhatt and Mahesh Bhatt wrote special letters of thanks to the team of Prasad Lab.
Now Prasad Lab is busy with several 3D jobs that include director Remo Fernandes‘s ABCD- Any Body Can Dance and Rajnikant‘s super hit film Shivaji that is also being converted into 3D by Prasad Lab.
Said Prasad Lab Director Sai Prasad, “This is an exciting phase in our business as the world of cinema is moving towards 3D.There are number of 3D projects lined up at Prasad Lab to utilize our completely integrated package of 3D movie related services. Our association with international leaders and technology providers has given us an edge over other service providers in India.”
In the coming times, viewers of Hindi cinema will see many 3D films and the credit for this would go to Prasad Lab for bringing sea change in the domain of Hindi films.
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.
