Hindi
Percept to invest Rs 350 million in Hanuman 3
MUMBAI: Percept Picture Company (PPC), a part of Percept Holdings, is pumping in Rs 300-350 million for Hanuman 3, a 3-dimensional movie.
Hanuman 3 is slated for release in 2010. Kerala-based Toonz Animation will be doing the post production work for the movie.
PPC will shortly start on the pre-production of Hanuman 3. The name of the sequel movie is yet to be decided.
Released in 2005, Hanuman Jai Bajarangbali was a block buster. The Return of Hanuman has released this Friday.
“We are investing Rs 300-350 million for Hanuman 3. The story, director and title of the film is yet to be decided. Our aim is to make Hanuman a universal animation entertainment property in terms of value and appeal,” PPC CEO Preet Bedi tells Indiantelevision.com.
Hanuman offers merchandising opportunities for multiple products like key-chains, sharpners, face masks and maze. For Return of Hanuman‘s branded merchandise, Percept has already tied up with Future Group, Jump Games, Baskin Robbins, D‘damas and Camlin.
Regarding expanding the footprint of Return of Hanuman, PPC and Toonz Animation have decided to release it in four Indian regional languages. It will also be made available in foreign languages.
“We will dub Return of Hanuman in at least four Indian languages including Tamil and Telugu. We will also release it in English, German, Italian and Spanish languages, probably with sub-titles,” says Bedi.
Besides Hanuman and Return of Hanuman, PPC has also produced or distributed Mera Pahla Pahla Pyar (MP3), Traffic Signal, Deadline, Jai Santoshi Maa, Malamaal Weekly, Corporate, Pyaar mein twist, Makdee, Dor Home Delivery and Phir milenge.
Toonz Animation India is part of the international business conglomerate, Comcraft Group, which is based in Geneva and a major provider of animation to the top US and European producers.
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.
