Hindi
Reliance Mediaworks offers 3D conversion service to Indian films
MUMBAI: Reliance MediaWorks (RMWL), the film and entertainment services company, said today that it now offers 3D Conversion services to Bollywood studios.
"Hollywood has shown how 3D format can enhance the immersive audience experience and for Bollywood, 3D will prove to be the next technological phase in entertainment. Within next two years, the 3D cinema screen count is expected to cross 1500 screens in India and the penetration of 3D television will also be significant, establishing exceptional opportunity which Indian film studios can leverage to garner higher returns," Reliance MediaWorks CEO Anil Arjun said.
RMWL‘s first Bollywood 3D conversion project is Shah Rukh Khan starrer Don 2 for Excel Entertainment and Reliance Entertainment. The movie will release in cinemas worldwide on 23 December in both 2D and 3D formats.
Commenting on the 3D release of Don 2, Farhan Akhtar said, "The 3D conversion of Don 2 has been done by the Reliance MediaWorks team and we are very happy with outcome. We explored the option of releasing the film in 3D by doing a test demo and the results came out looking fabulous and since it was translating well and technology has come to a point where we don‘t need to shy away from it, we decided to go ahead and give the audiences a 3D experience of Don 2."
RMWL said that it will offer Indian film studios well-established proprietary technologies, creative expertise and powerful tools for 3D project requirements. The company will be able to provide quality and scale of services available through its operations in India which includes a team of more than 600 trained 3D artists.
Reliance MediaWorks COO media and creative services Naresh Malik said, "Being one of the leading 3D conversion service providers to Hollywood leaders has helped us understand and develop optimal solutions that can enhance 3D viewing. We look forward to leverage this global experience to deliver unparalleled results for a variety of applications and ultimately help Indian filmmakers in creating the finest possible 3D experience."
Reliance MediaWorks‘ bouquet of 3D services includes stereoscopic 2D to 3D conversion, services for 3D alignment issues, image and detail enhancements, grain and noise management and on-set consulting, DI grading for 3D, creation and handling of 3D DCPs and 3D camera services.
Reliance MediaWorks currently has a presence in film services: motion picture processing and DI; visual effects; animation; film restoration and image enhancement; 3D; digital mastering: studios and equipment rentals with presence across India, the US, UK and Japan.
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.
