Hindi
Adlabs Films allots shares on FCCB conversion
MUMBAI: Adlabs Films has allotted 1.6 million equity shares to convert Zero Coupon Foreign Currency Convertible Bonds (FCCB) aggregating 1, 62, 50,000 euros (or Rs 881.7 million) in value. The equity shares are of face vale Rs five each at a price Rs 543.42 (including a premium of Rs 538.42) per share.
“Pursuant to the allotment, the total paid up share capital of the Company shall be 22,35,84,040 divided into 4,47,16,808 equity shares of Rs five each fully paid up,” says a press release.
However the company has said that further pursuant to the allotment, the net worth of the company shall be Rs 5.78 billion.
The outstanding amount of zero coupon FCCB is now 3,47,65,000 euros in value (or Rs 2012476320).
In December, Adlabs Films had allotted 703,933 equity shares of value Rs five each on conversion of zero coupon FCCB worth Euro 7.05 million (about Rs 382.53 million).
Earlier it had allotted 948,565 equity shares of face value Rs five each for cash at a price of Rs 543.42 (including a premium of Rs 538.42) a share, pursuant to the conversion notices received in respect of conversion of zero coupon FCCB aggregating to Euro 9,500,000 (or Rs 515.4 million) in value.
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.
