Hindi
Shringar Cinemas fixes IPO price band at Rs 47-53
MUMBAI: Shringar Cinemas has fixed the price band at Rs 47-53 for its public issue of 81,500,000 shares of Rs 10 each. The IPO will be through a 100 per cent book-building process to finance its expansion plans.
The size of the issue will be Rs 383 million at the upper end of the price band and Rs 431.9 million at the lower end of the band.
The seven-day issue will open on 5 April. Shringar Cinemas operates a chain of multiplexes and distributes movies. “The price band is fixed,” Shringar Cinemas managing director Shravan Shroff confirmed.
Out of the present issue, 50 per cent (39,50,000) shares are reserved for allocation to Qualified Institutional Buyers (QIBs) on discretionary basis, 25 per cent (19,75,000) shares are reserved for allocation to Non Institutional Bidders and 25 per cent (19,75,000) shares are reserved for retail individual bidders both on proportionate basis. The balance 2,50,000 equity shares are reserved for allotment to employees of the company.
The promoters’ holding will come down from around 65 per cent to 48 per cent. G W Capital, a private equity investment firm which had picked up 35 per cent stake, will bring down its stake to 26 per cent after the IPO.
The company had filed draft red herring prospectus with Securities and Exchange Board of India (SEBI) on 14 January. Enam Financial Consultants Private Limited and JM Morgan Stanley Private Limited have been appointed as book running lead managers to the issue.
Shringar Cinemas’s plans for 2005 include the opening of two four-screen multiplexes in Mumbai and two three-screen multiplexes in Pune and Hyderabad.
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.
