Hindi
Reliance Entertainment gets protection order against piracy for Bodyguard
MUMBAI: Reliance Entertainment has procured a ‘John Doe Order‘ order from the Delhi High Court to prevent the illegal broadcast or
streaming of its upcoming film Bodyguard, starring Salman Khan and Kareena Kapoor.
The company said that it has procured the order from the Court that would restrain websites, cable operators and Internet service
providers (ISPs) and others from infringing or violating its copyright by illegally showing the film.
“The order is a measure to prevent piracy of Bodyguard. With this, we expect piracy levels for the film to come down by 60 per cent,” said Reliance Entertainment vice-president of music and anti-piracy Sanjay Tandon.
This John Doe Order gives protection to the intellectual property owner, Reliance Entertainment, from copyright violation by prospective anonymous offenders. Tamdon said that the company has already sent out about 2,000 intimation notices to cable operators, websites within and outside India and ISPs.
Earlier, the company had procured a similar court order for Singham. “We were able to bring down piracy by 40 per cent. The company had served the John Doe Order to about 30 people for Singham,” Tandon remarked.
“For Bodyguard, the company has readied a team that will conduct raids to identify those infringing on the copyright. At Reliance
Entertainment, we have created a separate department to fight piracy,” he added.
Presented by Reliance Entertainment, Bodyguard, a Reel Life Production, releases across 2500 screens on 31August.
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.
