Hindi
UFO Moviez & Pyramid-Saimira join hands to set up digital cinema chain
MUMBAI: Digital cinema network UFO Moviez and the Chennai based Pyramid Saimira Theatres Limited (PSTL) have got together for the digitisation of 1000 theatres over the next three years all over India.
UFO Moviez shall be providing end to end digital cinema solutions for the theatres in the Pyramid Saimira chain at a cost of Rs 1.5 billion.
Commenting on the deal, UFO India executive director & CEO Sanjay Gaikwad said, “We anticipate that this tie up with Pyramid group will chart the way for the digital revolution happening in the field of cinema exhibition. A single integrated chain of 1000 digital cinemas all over India will provide producers and distributors a unique opportunity for saturated wide spread release in the week of release itself. Worldwide, there is tremendous excitement about this technology which is being hailed as the next great leap in film distribution and exhibition”.
Elaborating on the agreement, UFO India’s director Usman Fayaz adds, “Pyramid Saimira has tremendous presence in the southern states and are now looking at expanding to other territories in India. This agreement is indeed a step forward in our future plans of creating a truly global network and becoming the world’s undisputed leaders in digital cinema network.”
“The states of Andhra Pradesh, Tamil Nadu, Kerala and Karnataka between themselves have 59 per cent of the cinema halls in India. We expect at least 50 per cent of our conversions to UFO Digital system to come from the south market. Unlike the hindi speaking states, the four southern states are highly compartmentalized as regards film viewing and exhibition in terms of language and we expect a high density of theatres in these states.”
States PSTL MD P S Saminathan, “PSTL plans to have 2000 screens under its full operation management spread across 1550 locations by the year 2009-2010. The agreement with UFO enables PSTL to reach this target faster since it frees PSTL capital from Plant & Machinery and enables PSTL to lock in more points of presence faster”.
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.
