Hindi
YRF recruits Ketan-O-Rana as sr manager production & post-prod supervisor
MUMBAI: He’s an alumnus of Amity University where he graduated in journalism, and Whistling Woods where he completed his film production and direction diploma. 14 years later Ketan-O-Rana recently joined YRF – Yash Raj Films as senior manager production and post production supervisor.
Along the way he worked in various capacities in companies such as Equinox Films, Balaji Telefilms, Ramesh Sippy Entertainment either in production or creative. NFDC beckoned and he joined it as a creative director for a couple of years until he was called by Dar Motion Pictures as a writer director – once again for a couple of years.
Bambai Dreams was his next stop, followed by B62 studios where he rose to become post- production supervisor. He had a six month stint working at Mukta Arts where he worked as an associate on Subhash Ghai’s film. He finally went independent founding his own banner Postman Pictures which he ran for 12 years. He then decided may be it would be good to be employed someplace and joined YRF.
“I’ve spent years on sets where chaos meets creativity, navigating the showdown between vision and reality. Now, as post production supervisor at Yash Raj Films, I leverage my background as an associate director, producer, and screenwriter. I thrive on the details and those fleeting moments that elevate a story—whether it’s crafting explosive action sequences or executing the cut that just hits right. The reel never stops rolling, and I’m committed to making every frame count,” Ketan said on Linkedin while announcing his appointment at YRF.
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.
