Hindi
Bollywood’s online recruiting agency to start on 30 April
MUMBAI: In a first large-scale attempt to professionalise recruitment in films, an online placement agency for strugglers titled Talentube.com will launch on 30 April.
Supported by filmmakers like Mahesh Manjrekar, Sudhir Mishra and Sangeeth Sivan, the agency will build a database both of aspiring actors, singers, dancers as well as of positions available.
Unlike the sector‘s existing agencies where there are several recruiting agencies which don’t follow ground rules, talenttube.com will operate in a transparent manner, according to its founders. Applicants can register for a small fee, of not more than Rs 1,000 and then send in their work, which a panel of experts will screen before finally setting up interviews.
“We found that the casting couch is very much a reality – for both women and men. With our portal, job seekers do not have to meet anyone until the final stages, thereby minimising the chances of exploitation,” Vinod Nair, one of the three founders, said.
The founders that include Nair, Ravi Nagpurkar and Rakesh Sreekumar have already identified 25,000 people whom directors and other talent seekers feel can be selected among the aspirants.
The online agency will start operating from 30 April.
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.
