Hindi
Adlabs Cinemas launches Easy Ticket
MUMBAI: Easy Ticket, a new venture by the Adlabs Cinemas, was launched across all the Adlabs Cinemas in the country.
Easy Ticket is a technology led application that allows a cashless experience to the customers across all the Adlabs chain of multiplexes.
Easy Ticket customers can use it to purchase tickets, foods and beverages.
“The idea was to provide convenience along with a luxurious experience to the customers. Films have a universal appeal in India and with help of Easy Ticket customers can have a far better experience at Adlabs Cinemas,” said Adlabs Cinemas COO Tushar Dhingra.
Customers can buy an Adlabs Easy Ticket scratch card for the denomination of their choice and get the seven digit code activated by sending SMS to 53030. The activation SMS received after that can be utilized at any of the adlabs cinemas.
Additionally the Easy Ticket can also be received via IVR by dialing std code + 39894040 from the mobile phone. This facility is unavailable on landline numbers.
“Mobile has a huge reach in India and considering its handy nature it is the most convenient way to promote Easy Ticket,” added Dhingra.
Easy Ticket can also be bought via internet by registering online on adlabscinema.com and making payments through credit card.
Adlabs Easy Ticket available in denominations of Rs 200, Rs 500 and Rs 1000 can be used at all Adlabs cinemas (except Fame Adlabs).
A customized service can also be availed for the bulk buy in which the buyer can get to know about how, when and where the ticket was spent. This kind of a service feasible for corporates has already received a good responce.
“We had lakhs of Easy Tickets bought out by big corporate houses on the day of launch itself,”said Dhingra.
Adlabs Easy Ticket also has the option of being gifted to others in a secure manner and has a security system which prevents Easy Ticket from being misused.
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.
