Hindi
Times Innovative Media is IFFI’s event management agency
MUMBAI: The Entertainment Society of Goa (ESG) has selected Times Innovative Media as the event management agency for the 38th International Film Festival of India (Iffi) 2007, which starts from 23 November.
Times Innovative submitted a financial bid of over Rs 21.3 million, of which it claimed it would raise Rs 9 million through sponsorships.
The company has also produced bank guarantee of Rs 9 million. The ESG had also decided to register only 5,000 delegates for the festival depending upon the availability of seating capacity in consultation with the Directorate of Film Festivals (DFF), New Delhi.
The total number of delegates will be registered depending on the seating capacity available, ESG CEO Nandini Paliwal said. The two new theatres would be ready by 7 November.
She also said that the use of private theatres in Panjim was under consideration and that the DFF technical committee was yet to submit its report on feasibility of theatres.
For the first time, it has been also broadly agreed to introduce the concept of ticketing system for the delegates for entering the cinema halls to watch the movies to be screened during the festival so that there would not be any rush at the venues.
The delegates would be allowed to participate for three screenings per day and the media delegates could watch five screenings per day. However, they will have to do bookings in advance.
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.
