Hindi
Prime Focus Q3 net profit up 5% at 59 million
MUMBAI: Prime Focus has posted a standalone net profit of Rs 58.7 million for the quarter ended 31 December 2007, up 4.96 per cent compared to the corresponding quarter last fiscal.
During the period, standalone revenue grew 48.4 per cent to stand at Rs 220.3 million.
During the quarter, Prime Focus has acquired Post Logic Studios (with offices in Hollywood and New York) and Frantic Films (with offices in Los Angeles, Winnipeg and Vancouver) for a total consideration of $ 43 million. The acquisitions have added to Prime Focus’ global footprint, which previously entailed of six visual effects and post-production facilities across India and four facilities in London.
Prime Focus MD Namit Malhotra said, “With our the recent acquisitions of Frantic Films and Post Logic Studios, the Prime Focus Group now has strategic positioning in the world’s largest entertainment markets viz. US, UK and India. With this incredible talent pool and technology we can easily deliver the best creative and technical services for content companies all over the globe”.
It has launched unsubordinated unsecured foreign currency convertible bonds worth $ 55 million due in 2012. The Bonds will be convertible into ordinary shares of the Company, quoted in Indian Rupees and listed on the Bombay Stock Exchange and the National Stock Exchange.
The company has completed post production work of films like Saawariyan, Om Shanti Om and Welcome among others. Besides it has also executed the post production and visual effects work on television commercials like Lenovo, Hero Hondo Hunk, Tata AIG, Bajaj Avenger, Skoda Fabia and Ford Fiesta.
Malhotra added, “This year we will be focusing on further strengthening our global pipeline to deliver unmatched value and service to our customers and become the leading visual effects and post-production service provider in each local market.”
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.
