Hindi
Shemaroo gears up for digital era; adds devotional app Ibaadat
MUMBAI: Right at the opportune time, one of India’s oldest media companies, Shemaroo Entertainment, has launched a new devotional app called Ibaadat.
The Islamic devotional app will contain live feeds, devotional tunes, an e-commerce platform, donation service, etc. Over time, customer feedback will enrich the app’s growth.
On the reason for picking the Islamic faith, Shemaroo Entertainment CEO Hiren Gada said, “For us, it is not about choosing a particular religion. We already have content and presence in all the major religions in India whether it’s Hinduism, Islam, Christianity, Sikhism or Jainism. In fact, we already have a Hindu app in place, Hari Om. The next biggest population is the Islamic population. So, the idea is how many more people we can help connect with their faith.”
About five years ago, there was an inflexion point when the company realised that digital is soon going to explode. “There are a lot of changes overall as an organisation that we have been going through the last few years. We have been preparing ourselves for the digital era. Some of these initiatives which we are seeing are a result of this,” he said.
While the company’s digital segment has grown at roughly 40 per cent y-o-y, it stands roughly around 25 per cent of the total business.
Very recently, Shemaroo opened its US office which is still in its initial stage. Rather than making content to cater to the US audience, it will try to serve the diaspora with existing content. “First opportunity is to be able to serve the diaspora with existing content we have in a much better way because we felt that it was clearly an underserved consumer segment for us which we saw based on various platforms we were present. So that was our first target, and that itself is a large task by itself,” Gada said.
He did not reveal any firm plan on whether the company wanted to go the OTT way any time soon.
The Ibaadat app is free except for some services which have minimal charge. For now, it is only available on Android and the iOS version is on the way. For promoting the app, Shemaroo is targeting DTH and social media.
The content library is a combination of outsourced as well as the content created in house. It will be tying up with more shrines in future.
Just three months ago, Hari Om was launched where people could tune into live telecast of aartis, order Prasad at their doorstep from temples across the country, listen to teachings of top gurus and even book religious services or orders.
Once associated with classic movies of the previous century, Shemaroo has evolved over time staying relevant to the current age. The next challenge is to make Shemaroo digital-savvy.
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.
