Hindi
Telangana govt & film industry set up crime unit to fight software piracy
NEW DELHI: The Telangana Intellectual Property Crime Unit (TIPCU), which has been in the planning for almost five years, is being formally launched this week in Hyderabad to create a sustained platform to bridge communication between industry stakeholders, ISPs, policy makers, enforcement agencies aided by legal and financial experts to fight software piracy.
TIPCU has been set up by the Telangana government in collaboration with the United States Trade Marks and Patents Office (USTPO), the Federation of Indian Chambers of Commerce and Industry, the Telugu Film Industry and the Motion Picture Distributors Association (MPDA, India).
State IT minister K T Rama Rao and United States Ambassador Richard Rahul Verma will formally launch TIPCU on 24 June at a meet followed by a discussion on the copyright enforcement model by key government officials and senior industry leaders.
TIPCU will set in motion, online content protection initiatives through proactive and stringent enforcement measures to counter online film piracy.
Rajiv Aggarwal, Joint Secretary in the Department of Industrial Policy and Promotion of the Central Government which now deals with IPR issues and state IT Secretary Jayesh Ranjan will also speak on the occasion. Several filmmakers are also expected to speak at the event.
TIPCU will create a watch list of pirate websites similar to the IWL (Infringing Website List) of the British PIPCU at regular intervals; evolve mechanisms to counter online film piracy; and create an industry interface for sharing of intelligence on such syndicates.
It will work on effective measures to curb flow of revenues to infringing sites; and monitor high risk (Ad-supported) websites and initiate suitable actions to choke revenues to such sites. It will bring down and block infringing links, websites, hosting and streaming sites; provide immediate relief to the film Industry without having to obtain Court orders; and systematically eradicate pirate websites and platforms illegally hosting or streaming copyright content.
It will also evolve enforcement mechanisms to align with the ever-changing digital content landscape and criminal syndicates operating therein.
Earlier on 6 May 2016, indiantelevision.com had reported about the setting up of TIPCU and the collaboration of the state IT Department with the film industry and the USTPO.
Also read:
Telangana leads fight against online piracy in partnership with film industry
http://www.indiantelevision.com/movies/hindi/telangana-leads-fight-against-online-piracy-in-partnership-with-film-industry-160506
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.
