Hindi
“Dekho, Jeeto Aur Jeetao” with Sony Max’s latest initiative with the WTP of Shakuntala Devi
MUMBAI: Shakuntala Devi’s quest for knowledge was unmatched. And so was her love for Mathematics. Sony Max, a premium Hindi movie channel is all set to provide viewers with an opportunity to help someone with the gift of knowledge with a unique campaign titled ‘Dekho, Jeeto aur Jeetao with Shakuntala Devi’ as part of the promotional plan for the world television premiere of Shakuntala Devi this December.
With this activity fans have to click a selfie of themselves while watching the premiere of Shakuntala Devi, post them on Sony Max’s official Facebook page or on their Instagram stories, tagging @SonyMAX using #DekhoJeetoJeetaoContest. For each participant, Sony Max promises to contribute Rs 100 to help those in need by donating tablets and giving children at Salaam Balak Trust (an Indian non-profit and non-governmental organization which provides support for children in street situation) an opportunity to learn and build a bright future. Sony Max urges fans to take this opportunity to help give the gift of knowledge to these deserving children and keep Shakuntala Devi’s legacy of learning alive.
Watch the TVC here- https://www.facebook.com/watch/?v=455275682547998
Sony Max business head Neeraj Vyas said: Sony MAX has always introduced interesting initiatives to keep the audiences engaged, entertained and informed. The latest campaign, “Dekho, Jeeto aur Jeetao with Shakuntala Devi” aims to take the cause of e-learning a notch higher. The story of Shakuntala Devi is a real-life empowering tale about mathematical brilliance and we believe students tend to get inspired by such motivating & gripping stories of great personalities. Therefore, at Sony Max we are thrilled to take this opportunity to support new-age education and make viewers a part of it by donating tablets to the students who are keen to learn.”
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.
