Hindi
Ledure lightings limited associates as media partner with movie “Fighter”
Mumbai: Ledure Lightings Limited, dedicated lighting technology brand, providing a range of specialty lighting, luminaires, and lighting solutions has announced its media partnership with Bollywood movie FIGHTER starring Hrithik Roshan, Deepika Padukone, Anil Kapoor, Karan Singh Grover and Akshay Oberoi, Sanjeeda Sheikh, Talat Aziz, Ashutosh Rana, among others.
Fighter revolves around the members of Air Dragons, an elite unit commissioned by Air Headquarters to combat militant activities that begin to go out of control in the Srinagar Valley. These Air Dragons are willing to give it their all for the nation while going through the highs and lows of their internal and external battles.
Commenting on Ledure Lightings Limited association with Fighter, Ledure Lightings Limited director Pranav Aggarwal says, “There is synonymy between Ledure Lightings and Fighter movie’s plot. Just like the movie’s plot which unfolds their camaraderie, brotherhood and battles, Ledure Lightings Limited journey is no less similar. To bring the state-of-the-art high-tech and diverse range of lighting solutions involves working together as a team aware of each member’s diverse opinions and views yet working together towards a common objective and goal”.
Ledure Lightings Limited as media partner for Fighter movie, the association involves publicity in newspapers announcing about the movie through newspaper advertisements, television commercials, outdoor hoardings and social media campaigns.
Ledure Lightings Limited one of the social media post says, ‘‘Fighter Ki Tezi Aur Ledure Ki Roshni Pe Desh Kare Bharosa” In another invigorating post, the lead actor of Fighter movie, Hrithik Roshan can be seen endorsing Ledure Lightings in a “Aasman Mein Udhar Dushmanon Se Ladkar Hum Karte Hain Apne Desh Ka Naam Roshan Aur Hamare Desh Ke Gharon Ko Roshan Karte Hain Ledure Lightings That Go Beyond Innovation”.
Ledure Lightings also has an exciting contest on its social media pages that promises Fighter movie vouchers worth Rs 300 for an entertaining cinematic experience.
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.
