Hindi
Adlabs Films net profit at Rs 217.2 million
MUMBAI: Reliance ADAG’s Adlabs Films has posted a consolidated net profit of Rs 217.2 million for the quarter ended 31 December 2007.
During the period, consolidated revenue stood at Rs 1.29 billion, up 23 per cent year-on-year.
On a standalone basis, the company’s total income was Rs 1.12 billion for the quarter ended 31 December 2007.
Adlabs‘ net profit stood at Rs 204.9 million, on a standalone basis during the period.
The company’s cinema division grew by 75 per cent to Rs 420 million, and is now operating 131 screens and 45 properties across the country.
Adlabs Films claims to have a market share of over 70 per cent in the Hindi film print business.
The motion picture processing and services division recorded a 26 per cent increase at Rs 240 million.
The content production and distribution business grew by 10 per cent, contributing Rs 470 million.
The company‘s results for the quarter ended 31 December 2007 include the operations of Entertainment One India Ltd and the digital business of Mukta Adlabs Digital Exhibition Pvt Ltd. It excludes the operations of the radio business that operates under the brand name Big FM. Therefore, it is not comparable with the previous period.
Adlabs Films CFO Venkat Devarajan said, “We have been launching new cinema properties at an aggressive pace. Our television business too, Synergy Adlabs, has been expanding rapidly in new genres and even regional languages. One of the most important features of this quarter has been the operational growth across divisions. This augurs well for the future.”
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.
