Hindi
Prime Focus Q2 net profit rises 7.83 % to Rs 102 million
MUMBAI: Prime Focus reported a net profit rose of Rs 102.1 million for the second quarter of Fy‘09, up 7.83 per cent in the same quarter of the previous year.
During the quarter, revenue jumped 47.52 per cent to stand at Rs 849.4 million.
Prime Focus MD Namit Malhotra said, “Our presence across multiple continents has provided our customers an unprecedented global value proposition. In India, we have had a good quarter both in terms of films as well as advertising with big budget movies and highly acclaimed television commercials to our credit. We are focusing on further strengthening our global pipeline, to provide the Indian media and entertainment industry with international quality work.”
“Going forward, we will continue to up our benchmark by providing services to not only Indian customers but also tap global markets with our skilled resources,” added Malhotra.
During the quarter, the company has successfully completed post production work on box office hits like Dasavathaaram, Love Story 2050, Tashan among others. It has completed post production and visual effects work on several highly acclaimed television commercials like Himalayan Mineral Water, Chloremint, Oxicash, Toyota Innova etc and television shows like Maharabharata on 9X .
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.
