Hindi
Moser Baer acquires 800 Hindi films from Ultra Video
MUMBAI: Moser Baer India‘s aggressive play in the home video market continues. In a bulk deal, the Mumbai-based company has acquired over 800 Hindi and 100 Gujarati titles from home video major Ultra Video.
Ultra Video currently has a library of over 2200 movies.
Some of the Hindi titles are Sholay, Koi Mil Gaya, Andaz Apna Apna, 36 China Town, Iqbal, Dillagi, Bombay to Goa, Hero No 1, Saagar, Maine Pyar Kiya, Hum Aapke Hai Kaun, Aradhana and Amar Prem.
The Gujarati movies include Desh Re Joya Dada Pardesh Joya, Gaam Ma Piyaryu Ne Gaam Ma Sasar, Unchi Medi Na Uncha Mol, Hiran Ne Kanthe, Jode Rahejo Raj and Moti Verana Chawk Ma.
Moser Baer will be releasing these titles in the home video market on DVD and VCD formats at attractive price points. It will use its proprietary and patented technology.
Says Moser Baer CEO Entertainment business Harish Dayani, “With this acquisition, we own or have license for over 2500 Hindi titles and for over 400 Gujarati titles. This acquisition enables us to offer some latest hit titles to consumers at affordable prices points between Rs 28 – Rs 39 for VCD / DVD, by leveraging upon our patented and proprietary technology.”
The company will leverage its distribution reach to market these titles. Moser Baer has already lined up over 475 distributors across the country and stocks shall be soon available in around 100,000 outlets.
Moser Baer says its new division is close to acquiring copyrights / exclusive license for more than 9,000 titles in all major Indian languages, which comprises a third of all movies produced till date in India.
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.
