Hindi
Scrabble and Timewaying tie up to push premium LED cinema screens
INDIA: Scrabble Entertainment DMCC, a wholly owned subsidiary of UFO Moviez India, has struck a strategic partnership with Shenzhen Timewaying Technology to accelerate the rollout of premium direct-view LED cinema screens across the Middle East, India and the wider Saarc region.
Under the tie-up, Scrabble will exclusively promote, distribute and deploy Timewaying’s DCI-certified HeyLED screens, which offer high-dynamic-range capability, deeper contrast and sharper detail aimed at preserving creative intent in exhibition and post-production.
Timewaying, which also operates China’s largest Freedeo 3D cinema platform, positions HeyLED as the world’s most comprehensive DCI-approved LED display for theatres. Scrabble, a leading digital-cinema solutions provider in the Middle East and Africa, was the first digital-cinema deployment entity and DCI content-service provider for Indian and Hollywood studios.
“LED screens with HDR are set to be a game changer for cinema viewing, and we expect strong demand from top-end exhibitors,” said Scrabble chief executive Pruthu Shah. “With this tie-up, we are once again bringing cutting-edge technology to the region.”
Timewaying founder and chief executive Andrew Chan, said the partnership would speed up market expansion. “This is a win-win tie-up and will take our DCI LED screens into new territories with significant growth potential,” he said.
Both companies will collaborate on local marketing, demonstrations and outreach, and plan to build commercial environments where exhibitors can test HeyLED’s HDR capabilities first-hand.
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.
