Hindi
Eros ups Ist half turnover by 59% to $34.6 million
MUMBAI: Eros International‘s turnover stands at $34.6 million for the six month period ended 30 September 2007, up 58.7 per cent from a year ago period.
Eros‘ profit before tax is up 75.9 per cent at $13.6 million.
Cash flow from operating activities stands at $15.4 million for the six months period ended 30 September 2007.
During this period, Eros has acquired 51 per cent in Ayngaran to enter the Tamil film market. In collaboration with Hollywood visual effects talent Cahrles Darby, it has launched a post-production unit called Eyecube Studios. It has also signed a deal with Sony Pictures to co-produce a slate of films.
During the period, Eros International has signed new deals with Sky Anytime, Joost, NME, Vudu, Mauritius telecom and Singnet in the new media section.
In March 2007, it has signed a TV syndication deal with Sony.
Besides it has expanded distribution network with mainstream cinema chains and DVD retailers.
Eros International CEO and chairman Kishore Lulla said, “Eros has continued to deliver on its strategy of consolidating the Indian entertainment market, expanding its audience reach by leveraging its local distribution network. We are delighted with our continuing momentum and our ability to deliver growth and profits while maintaining margins.
Our content library and global distribution infrastructure separates us from other players in the space. Our business is still at an inflection point and we are confident that we have the strategy as well as management to take advantage of the immense opportunity in front of us. We remain confident of a successful outcome to the current financial year.”
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.
