Hindi
Tata Capital opts for ‘Shaandaar’ marketing to promote loans
MUMBAI: Tata Capital has inked a marketing tie-up with Dharma Productions’ upcoming film Shaandaar, which is due to release on 22 October.
A contest called ‘Har Shaadi Hai Shaandaar’ has been launched wherein individuals who are looking to avail a wedding or personal loan from Tata Capital can participate in the contest. Three lucky winners will get a chance to meet the stars of the movie namely Shahid Kapoor and Alia Bhatt. The contest ends on 17 October, 2015.
An extensive marketing campaign comprising TV and digital media will be used to promote the wedding loan product and the contest. The participants have to share their ‘Shaandaar’ story in not more than 3000 characters along with applying for the loan.
Tata Capital wedding loans will provide prospective brides and grooms with the ability to finance their dream wedding. Wedding expenses are one of the key reasons for taking a personal loan. After observing this need, Tata Capital has crafted the wedding loan product, which has the added benefits of flexible EMI repayment options, quick processing and attractive interest rates, that makes it easier to finance small or large ticket wedding expenses.
Tata Capital head – brand marketing corporate communication & digital vertical Veetika Deoras said, “Getting married is a key milestone in an individual’s life and Tata Capital offers wedding loans to help fulfil all the small or big desires that an individual may have, to make his/her wedding even more special. The movie Shaandaar is based on the theme of a destination wedding and hence the fit was perfect. Tata Capital believes that every wedding, big or not, is special, is shaandaar.”
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.
