Hindi
SRS Group to invest Rs 200 crore for 100 new screens
NEW DELHI: Despite the onslaught of growing movie channels on television, the craving for seeing a film on the big screen remains – but with new innovations like floor-to-ceiling screens and better sound systems. A strategic investment of Rs 200 crore is being put in by SRS Cinemas to build over 100 new screens across cities and towns in the country.
These theatres will showcase large, wall-to-wall and floor-to-ceiling screens, with international formats such as IMAX, ATMOS and 4DX to present the most immersive experience to movie buffs.
These 100 new screens, well equipped with technology and innovation, will offer a customised theatre geometry and powerful digital sound system to create a unique environment that allows audiences to enjoy the movies as never before. Alongside, international formats will bring projection systems which deliver crystal clear images to provide a great cinematic experience that is truly something to sit back and admire.
These new screens will provide the best-in-class, seamless and sophisticated movie- viewing experience with a pure blend of luxury and technology, a delight to movie enthusiasts.
SRS Group chairman and MD Anil Jindal said: “The Indian film industry is growing rapidly. It is efficiently set to reach $3 billion in 2016. This massive growth has encouraged us to expand and strengthen our presence across Tier II and III cities in the country. We plan to expand our footprint in the country by leveraging organic and inorganic expansion and acquiring screens across the nation.”
Group president & chief strategy officer Tinku Singh said: “We are proud to announce an investment of Rs. 200 Crore to build over 100 new screens. We are glad that with our expertise, we have been able to spread the magic of movies not just in urban but in semi- urban parts of the country as well. We are prominently present in major regions including Haryana, Uttar Pradesh, Punjab, Himachal Pradesh, Rajasthan and Bihar. The current investment will help us to spread more effectively across the country including eastern and southern part of India as well”.
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.
