Hindi
Shooting for Kunal Tiwari’s film ‘Tu Diya Aur Baati Hum 2’ concludes
Mumbai: The shooting of “Tu Diya Aur Baati Hum 2,” the upcoming sequel to Dhirendra Jha and Geeta Tiwari production’s successful film “Tu Diya Aur Baati Hum” has been completed. The film is currently in post production phase.
The first look of the film will be released on this Ramnavami/Chaitra Navratri, according to the film’s producer-director Dhirendra Jha
Speaking about the upcoming project, Jha said, “Our film ‘Tu Diya Aur Baati Hum 2’ is very important, because from where the first part of the film ended, this part is starting from there. That means a new chapter. After the success of the first part of the film, we decided to make the second part, which we have completed shooting. We have shot the film in Sonbhadra district of Uttar Pradesh. The post production work of the film has started in Mumbai. This time too, the film stars Kunal Tiwari, Kajal Yadav and Sonalika Prasad in the lead roles, who have once again shed a lot of sweat on the sets.”
“The artistic presentation of this film is going to be quite adorable. From the songs to the dialogues, the first part is also attractive. So this film is a must watch for the audience and we urge them to watch our film,” he added.
Jha told that “Tu Diya Aur Baati Hum 2” is written by Om Prakash Yadav, PRO Sanjay Bhushan Patiala, along with Nagendra Kumar as cameraman.
The film is produced by Dhirendra Kumar Jha and Geeta Tiwari Production with Mahesh Upadhay as executive producer and Ashish Dubey as production controller, and Shiv Mishra as line producer.
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.
