Hindi
Reliance MediaWorks Q3 net loss widens to Rs 1.5 bn
MUMBAI: Reliance MediaWorks (RMWL) has posted a consolidated net loss of Rs 1.51 billion for the third quarter of the fiscal, compared to a net loss of Rs 570.44 million the company had posted in the earlier year.
The company’s total income skid 12.88 per cent to Rs 2.11 billion compared to Rs 2.42 billion a year ago even as expenditure rose 11.13 per cent to Rs 2.89 billion from Rs 2.60 billion.
Revenue from company’s theatrical exhibition segment, Big Cinemas, declined to Rs 1.48 billion from to Rs 1.72 billion, representing a decline of Rs 240 million from the trailing quarter.
The company posted a revenue of Rs 534.38 million from the Film Production Services segment, as compared to Rs 598.3 million it had posted in the year-ago period.
RMWL clarified that the animation business is no longer part of the film production services, pursuant to restructuring that came into effect October last year.
Loss from film production services further increased to Rs 85.23 million compared to Rs 21.94 million in the prior year. The company deployed Rs 7.08 billion in the production services segment.
The theatrical exhibition business revenue stood at Rs 1.48 billion in the quarter under review (from Rs 1.72 bn in the year ago period). The loss from the segment was at Rs 510.38 million, as against a loss of Rs 56.96 million in the corresponding period of the previous fiscal.
The company deployed Rs 8.05 billion on the segment as of 31 December. Meanwhile, the television/film production and distribution vertical saw a huge dip in revenue from Rs 235.2 million in Q3 FY’11 to Rs 128.84 million in the current quarter.
Operating profit from the segment stood at Rs 17.94 million, down from Rs 43.63 million in the year-ago period.
The company has informed that its exhibition business achieved cash break-even during the quarter. It is also in the process of in the process of transferring its cinema exhibition and film and media services into separate wholly owned subsidiaries.
“With commencement of large commissioned orders, creative restoration and media services showed a sharp upswing at Rs 260 million and cash break-even in third quarter as compared to cash operating loss of Rs 100 million in trailing quarter,” it said.
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.
