Hindi
FinMin approves Eros’ proposal for setting up LLP with Rs 50 lakh FDI
NEW DELHI: The Government has cleared Eros International Media’s proposal of setting up a Limited Liability Partnership (LLP). The approval followed recommendation of the Foreign Investments Promotion Board (FIBP) and will involve a foreign direct investment (FDI) of Rs 49.90 lakh.
The government cleared as many as 11 FDI proposals worth Rs 1,567.91 crore, including that of Eros International Media.
Additionally, approval was also granted to Amar Ujala Publications Limited for foreign shareholding in the company up to 26 per cent of the post issue paid up equity share capital pursuant to proposed initial public offering – issue of equity shares to FIIs/FPIs/NRIs and transfer of 26,90,234 shares by existing shareholders for an aggregate consideration of Rs 50 crore.
Meanwhile, the FIPB listed as a table item for approval a proposal by Today Magazines Lifestyle Private Limited for foreign investment of 49 per cent by Cooperative International Publications Holding through transfer and further issue for an aggregate consideration of Rs 6.17 crore.
The FIPB rejected the proposal by Bean Media Group Pty Ltd, which sought approval to set up a wholly owned subsidiary in India for publishing specialty magazines.
On the other hand, the Cabinet Committee on Economic Affairs (CCEA) will take a final call on Rs 13,200 crore FDI proposals of Sistema Shyam TeleServices and IIFL Holdings, which have been referred to it for consideration by FIPB. While Sistema Shyam TeleServices’ proposal is for FDI of Rs 10,000 crore, IIFL Holdings’s is that of Rs 3201.5 crore.
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.
