Thought leaders and finance industry experts come together to create leaders of tomorrow

Thought leaders and finance industry experts come together to create leaders of tomorrow

Thought leaders and finance industry experts come together to create leaders of tomorrow

Moving from the middle of a leadership function is more than a change of designation. It is a transition that requires the development of key leadership competencies, including a broader view of the industry on the face of the piece. According to a study by HBR, senior managers make the transition to occupy leadership positions, having a strategic vision of the industry is essential to becoming a good leader.

Especially in relation to the world of finance, this strategic perspective is particularly important given the increasing volatility of the world economy due to political and economic developments. This translates into the fact that in 2016, the world economy grew only 2.3%, compared to 2.7% in 2015. Changes in world economic power, technological advances and demographic and social changes Are major factors influencing financial policies and regulations.

To help keep financial industry professionals ahead of the challenging face of such challenges, Standard Chartered has partnered with Chevening, a UK based organization, to create the Chevening Fellowship – Standard Chartered Financial Services. This program focuses on industry knowledge, knowledge sharing and exposure to the operation of international financial markets. Eight professionals from different disciplines and sectors with the potential to become leaders in the financial industry were selected to take part in the exclusive courses. The customized program to be held at Kings College London will focus on specialized skills such as risk management, actuarial science, financial regulation and aims to achieve a holistic approach.

Immediately after British voters decided to leave the EU, the pound fell 7.6% against the dollar. This dollar-dollar seismic movement caused by geopolitical uncertainty is one of many examples that highlight the importance of having a deep understanding of how global developments can have an impact on economies. The program is designed to familiarize participants with the impact of these large-scale movements. Although the focus is on reviewing the regulatory and organizational implications of Brexit for the financial sector, the course also includes the EU financial architecture study in the post-Brexit world. Course participants visit the platforms of the main banks of Canary Wharf, the London Stock Exchange and will travel to the European Commission in Brussels and the European Securities and Markets Authority (ESMA) in Paris. With several companies operating across international borders, the experiences provided in this course will enrich an in-depth knowledge of the funds from an international point of view.

Participants will have many opportunities to interact with the Brexit expert department; EU lawmakers and regulators and experts from leading financial institutions. These networking opportunities are included throughout the duration of the course to enable knowledge sharing and the knowledge industry.

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Assam’s Nepalis support the Gorkhaland movement – but say they will never leave their state

As a student at the Indian Institute of Technology in Dhanbad Jharkhand, Krishna Khatiwoda endeavored to explain to people that although he was from Nepal by descent, Assam was his home state. “I had an identity crisis,” said Khatiwoda, who speaks fluently assamois and graduated from high school this year. “When I told people I am from Nepal, they are going to say: ‘Oh, you are Nepal’ But I would tell them ‘I am not … I am Assam I am Indian ..’

While Darjeeling, West Bengal, blinded new demands for the creation of a separate state of Gorkhaland of Nepalese origin from Gorkha, like Khatiwoda – Nepal who were born and raised in Assam – supported the state movement. “This is a struggle for our identity,” Khatiwoda said. “We need a separate statement, so we do not have to explain every time we introduce ourselves that we are not in Nepal, but we are Indians.”

According to the 2001 census, Assam is home to 5.65 lakh Nepalese speaking people – the highest of any state after West Bengal (which had 10.23 Nepali lakh in 2001). However, Nepalese in Assam said the actual number was even higher. “Assam has the largest number of Nepal in the country,” said Sanjib Chetri, secretary of the All Gorkha Assam Student Union. “There are about 25 Nepali lakhs in Assam. In Bengal, the number will not exceed 20 lakh.”

Rajsekhar Sapcota, a veterinary science student in Guwahati, said that “the house always Assam” supported the claim of a separate state of Gorkhaland because it was simply that the Nepal community responded to its fair value. “If you go to the area around Darjeeling, you will see that the population is completely different from the rest of [West Bengal],” he said.

In 1986, when the demand for a separate state of Gorkhaland was first acquired in 1986, after the widespread expulsion of Nepal Meghalaya under the Gorkha National Liberation Front, led by Subhash Ghising. At that time, the Joint Action Committee of the New Optical Assam Organizations, Nepal’s dominant group organization in Assam, had set the Nepal number in Assam at about 18 lakh.

Nepali people speaking in Assam came in waves. The first large-scale migration was believed to have occurred in 1826, when the British were using Gorkha soldiers to annex Assam. Later, the British also brought a large number of Nepal to work in the state as many workers in the coal mines and oil fields in the region. The large tracts of green land of Assam also attracted the shepherds of Nepal in recent years.

While people of Nepalese origin are largely friendly with other Asamois, there have been cases of parasitic power, especially in the years following the Assam agreement in 1985. Among other things. The document sets midnight on March 24, 1971 as the date for entry into the state. All those who came to the state of Assam after they would declare themselves illegal immigrants. Although the movement was aimed at preventing illegal immigrants from Bangladesh to the bay, Nepal have also been caught in the crossfire on occasion.

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‘Tubelight’ has had a weak opening weekend. Should Salman Khan be worried?

‘Tubelight’ has had a weak opening weekend. Should Salman Khan be worried?

The figures for the first weekend Salman Khan Tubelight were as mediocre as the movie itself: about Rs 63.5 crore between Friday and Sunday, and Rs 18.75 crore on Monday than the day it was Held in Eid across the country, which marks the end of a month of fasting and abstinence from watching movies.

Product for Rs 100 million rupees reported and published on 4400 screens in India during Ramzan’s lucrative weekend, Tubelight has faced no competition from other versions of Hindi or Hollywood. Tubelight is stronger than most other films, of course, and still has the second best release of the year after Baahubali: The Conclusion. This is by no means a failure, but hardly healthier than the earlier Khan pioneers (also known as a “human being” development).

The latest Kabir Khan movie has all the craziness, but not the feel of a typical Salman Khan movie. Tubelight is a new official version of the Hollywood film of Little Boy. In the original, an eight year old boy is believed to have acquired the power of telekinesis and tries to use this power to carry his beloved father since World War II.

Kabir Khan moves the action to the Sino-Indian War of 1962 and replaces the father for a brother. The brothers of Salman Khan and Sohail real life are separated by battle, and Laxman child Salman Khan prays for the return of his brother while simultaneously protecting an Indian-Chinese woman (Chinese actress Zhu Zhu) and his son (King tomorrow Tangu) prejudices and violence.

Tubelight a soundtrack full of life by Pritam, the nod of Salman Khan and proven track record of Kabir Khan to deliver the leaders of the mafia. The Khan had previously collaborated on the monster hit Ek Tha Tiger (2012) and Bajrangi Bhaijaan (2015), which depicts the brave star as a peace mission of a man between India and Pakistan. It was expected that Tubelight has expanded the success Bajrangi Bhaijaan and we consider that it is not another week Salman Khan before its launch.

One of the problems is that his portrayal of Tubelight Miracles movie is too literal. In the original and new version, the main characters shake hands as wizards cast spells in an attempt to move objects – a ridiculous idea when hands belong to Salman Khan, who performs both on and off the screen with Half of the last years.

Tubelight is what Salman Khan Fan (2016) Shah Rukh Khan – a prestigious production that has turned the presentation of his first actor into a different cast, but turned out to be too alienating for the general public.

The image-nothing is impossible formed Salman Khan with wanted in 2008, sealed with Dabanng in 2010 and cemented in the next years. Her dominance at the box office meant that her producers had dropped the most expensive release dates (usually on weekends) and the hermetic equity reflected fat gains in lean sections (Ready, Bodyguards).

Khan has improved in his limited range of action through Bajrangi Bhaijaan and Sultan (2016), but his decision to campaign against his carefully constructed person seems to have been responsible for the appearance of Tubelight floating. The actor has co-produced the film and therefore is totally responsible for his attempt to give the image of Supermensch rest.

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Documentary ‘Hare Krishna!’ casts a devotee’s eye on the ISKCON movement

Documentary ‘Hare Krishna!’ casts a devotee’s eye on the ISKCON movement

A hypnotic and rhythmic song 16 words replaced LSD and other drugs to some East Village of New York, “said a CBS correspondent, referring to a guru who preaches the teachings of Krishna in Krishna Krishna Hare Krishna. A second avenue store. Black and white images come from the opening scene of Hare Krishna! Mantra, NAM, and Swami who started it all. The documentary from 2017 becomes the lens of Srila Prabhupada, which made the International Society for Krishna Consciousness popular in the West. It was directed by John Griesser, an ISKCON member, with Lauren Ross, and focuses on the impact of a former Indian spiritual master on foreign kilometers of his country.

In 1965, Prabhupada, 70, arrived in New York without much money or contacts. Devotional texts were armed as previous translations. America was in the midst of the Vietnam War, the civil rights movement, and an anti-furious culture. In this environment of uncertainty and rebellion, Prabhupada tried to create an alternative. For a generation of young people seeking deeper answers, Prabhupada’s philosophy and the promise of transcendental vibrations caused by the song had a widespread impact.

“It was a strange sight for many people, watching devotees sing in the streets of New York,” Griesser said. “They really appreciate Prabhupada’s message … that we are not these bodies, we are not these minds, we are eternal souls, minds.”

Griesser, named Yadubara Das, Prabhupada first met as a student in photography in 1970. Griesser had visited India to research his master’s thesis on the origins of the ISKCON movement. “I met him in Surat, and I was instantly fascinated by her,” said the 73-year-old director. “He had a powerful spiritual personality, but at the same time, it was also convenient.”

Griesser has traveled with Prabhupada in the 1970s, documenting his activities on a Super8 camera. “In 1974, I asked him if he could make a movie about his life and he usually said,” What is the need? “Said Griesser,” I told him that in the future, people want to know who started this movement. ”

Hare Krishna! Griesser traveled 40 hours of archive footage, released reprints of Prabhupada’s life in India and conducted interviews with entrepreneurs, teachers, and motivational speakers, many of his disciples, as author and professor Joshua Greene. The 90-minute film is woven into chunks of the early 20th-century Prabhupada, Calcutta. The son of a priest Prabhupada was one of Gandhi who participated in the non-cooperation movement. In 1922, he met the spiritual master Bhaktisiddhanta Saraswati, who became his teacher and inspired him to make the move to the West.

Greene, who also wrote Swami in a strange land: as Krishna came to the West (2016) and spent more than four decades studying and teaching the Bhagavad Gita, Griesser said his first meeting with Prabhupada “I met him for the first time at a conference When his assistant asked him if he could let him in, Prabhupada made a gesture, a slow movement swept with his hand, as if he drew a bow in the air, Which indicated that he had to enter the room.was, frankly, the first perfect thing I had ever seen, with the grace of a gestured dance.I entered, ran to him and cried.It would take some time to understand the reasons.

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Numbers don’t lie: Post 2015 World Cup, Ashwin and Jadeja have been abysmal in limited overs cricket

Numbers don’t lie: Post 2015 World Cup, Ashwin and Jadeja have been abysmal in limited overs cricket

El triunfo de la India en el Trofeo de Campeones de 2013 tenía una base sólida. Ese equipo indio era un equipo completo, no sólo en el papel, sino también en la práctica. Los bateadores y los jugadores de bolos ambos chascaron para ganar los cinco fósforos para la India. El Golden Bat, galardonado para la mayoría de las carreras, fue a Shikhar Dhawan y el Balón de Oro, para la mayoría de los wickets, fue a Ravindra Jadeja.

Los bateadores de la India repitieron una hazaña similar en el Trofeo de Campeones de este año. El orden medio realmente no tenía que ser probado, porque los tres primeros hicieron el trabajo casi cada vez. Pero la gran diferencia estaba en los bolos de la India, que fue la razón por la que perdieron ante Sri Lanka y la importante final ante Pakistán. Mientras que los dos principales impulsores, Bhuvneshwar Kumar y Jasprit Bumrah, hicieron muy bien en el torneo, lo mismo no se puede decir de los dos principales hilanderos.

Ashwin y Jadeja se han convertido en una combinación letal en el cricket de prueba. Son los dos mejores jugadores de bolos en el mundo en este formato en este momento. Sus registros T20 son bastante buenos también. Pero en alguna parte del camino, simplemente dejaron de ser efectivos en ODIs. Al verlos en el Trofeo de Campeones de este año, estaba claro que estaban jugando bolos con la intención de mantener las carreras abiertas, y no tomar wickets.

Los números de ODI de Ashwin hasta la Copa Mundial de 2015 no son un reflejo de sus habilidades de toma de wicket en el cricket de prueba, pero siguen siendo las estadísticas de un jugador de bolos ODI muy bueno, uno que puede mantener las carreras y darle un wicket o dos En cada juego.

Después de esto, Ashwin entró en un parche morado en Test cricket. En los dos años siguientes, su cuenta de wickets en el formato más largo aumentó en más del 200%. Obviamente, el hecho de que jugó 25 pruebas en este período contribuyó a esto, pero incluso su promedio en este período se hizo significativamente mejor. Fue más de 30 hasta el Mundial de 2015. Después de eso, es 21.

Sin embargo, su forma de ODI contó una historia completamente diferente.
Hasta el final de la Copa del Mundo de 2015, Jadeja también fue inestimable en la alineación ODI de la India. Él era el equipo de todo-redonda genuina del equipo, que tenía un impacto masivo en el campo, se podía contar para tazonar 10 excedentes para muy pocos funcionamientos, y de vez en cuando anota algunas funcionamientos. Pero él estaba en el equipo principalmente por sus juegos de bolos precisos, wicket-to-wicket que los bateadores encontraron muy difícil salir. Tratar de golpear a Jadeja por demasiadas carreras generalmente resultó en despidos, lo cual es ideal para un jugador de bolos limitados, ya que él o te da apretados overs o wickets.

Jadeja subió incluso más alto que Ashwin en el campo de pruebas desde el Mundial de 2015. De ser el segundo spinner en el equipo indio, superó a Ashwin en la tabla de clasificación, y es actualmente el mejor jugador de bolos en el mundo. Pero su forma ODI era inversamente proporcional a su forma de prueba, y dejó de tener cualquier tipo de impacto en esta forma del juego.
El trofeo de los campeones era el ejemplo más duro de la inmersión en forma de ODI de los dos mejores hilanderos de la India. Entre ellos, promediaron 83.2 carreras un torneo en el torneo, y golpearon una vez en 85.2 bolas. El problema principal no era que no pudieran tomar wickets, pero que no estaban intentando realmente.

Ashwin rara vez lanzó lo que le ha dado el máximo éxito: el off-spinner. A pesar de ser el azote de los zurdos en el grillo de la prueba, él intentó solamente el tazón de fuente derecho en sus piernas para calmarlos para el sitio. No funcionó a su favor, ya que terminó rodando varios largos por el lado de la pierna, irónicamente derrotando el propósito de la línea “apretado”.

Jadeja a menudo se equivocó en longitud, rodando demasiado corto o demasiado lleno, haciéndolo cosechas fáciles debido a la falta de cualquier turno ….

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How villagers in Nepal are making sure their concerns over a mega dam project are heard

How villagers in Nepal are making sure their concerns over a mega dam project are heard

We walked on unpaved and dusty roads. Women cut their rice crops in rice paddies, while men who use “topi” crush traditional Nepal stems against threshing stones. Water buffalo graze in the fields. Along the main road, uniformed children arrive from school. They cross a suspension bridge and make their way uphill and out of sight.

The suspension bridge crosses a river that flows clear and fast. As I approach the bridge, my heart begins to beat and I can not look down. I walked away and I sit on the grass nearby, next to an old man looking towards the river. “I helped build that bridge,” he said. “It was the only way people living on the other side of the river could go to the city and the kids could go to school if the dam was built, the bridge, all these houses – everything – will be under water. ”

The man spoke Tanahu hydroelectric project, threatening homes, homes and resources of the Damauli, Tanahu communities. I was visiting the area to know the proposed dam and understand what the communities thought the project.

The Tanahu hydroelectric project involves the construction of a 140-megawatt power plant with water storage facilities and transmission system. The project is expected to cost about $ 550 million and will be completed by 2020. The Asian Development Bank, the European Investment Bank and the Japan International Cooperation Agency provide funding for the project.

The dam needs to expand access to clean and sustainable energy, according to the Asian Development Bank, and investment will boost trade, productivity, job creation and the quality of life of citizens and the development of Community in a rural area. This story seems positive on paper, but quickly learned that the people directly affected by the project have a different story to share.

According to residents of Tanahu, more than 750 families will be affected by the hydroelectric project. Members of the community belong to different indigenous groups such as Magar, Gurung, Newari. They depend on land for sustenance and are concerned about the impacts on their land and their traditional environment.

For indigenous communities, meaningful participation in consultation and decision-making is an essential prerequisite for any development project. This is not the case for Tanahu. As a resident was found: “We have no information on the exact financing of this project. There were no public hearings.”

To address this gap in access to information, strengthening the Foundation’s community, social justice and the Aboriginal women’s legal consciousness group with the support of the Alliance for the Indigenous Peoples of Asia, the Council The International Accountability and Accountability Project, organized a November workshop to share information on Outreach and understand the situation of affected communities.

As a group, we are committed to supporting communities in their efforts to collaborate with banks, government and business for their needs. During training, community members learned the relevant national laws of a high-level advocate for indigenous rights. They also heard representatives of the Asian Peoples Alliance in international legal frameworks to protect the rights of indigenous peoples and relevant policies of the Asian Development Bank.

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Meira Kumar may not have the numbers to be president – but could she be prime minister?

Meira Kumar may not have the numbers to be president – but could she be prime minister?

Meira Kumar, a joint opposition candidate to the president, can not reach Rashtrapati Bhavan in July 2017, given the numbers stacked in favor of the indicator Ram Nath Kevin, the candidate of the Democratic National Alliance Party-Bharatiya Janata. But could she emerge as a candidate for prime minister of the united opposition in 2019?

This possibility may seem very speculative – and premature – at this stage. Certainly, there are two years for the next general election, and much water will descend on the Ganges during this period. On the other hand, we are not trying to make a decision, but a multitude of groups, big and small, each with its own agenda – and political – that the choice of a leader can help or hurt.

It is not as if the opposition grouping was like a monolithic entity, while the Bharatiya Janata Party is today, under a strong leader Narendra Modi, in its brief was accepted without hesitation since it has a product with the Kovind application.

In fact, Congress has not canceled within a few hours announcing the agreement on Meira Kumar, so some of the parties who considered themselves undecided are wrong. Sharad Pawar had to wait until Friday when he was to take a delegation to see the prime minister on the problems of farmers Friday. Nationalist Party Party leader Praful Patel said last week that whether his party’s support in the presidential election had been requested by the NDA leadership of the United Progressive Alliance should be addressed to a specific name. Mayawati also indicated his positive response to Kovind’s candidacy – unless, as was said, the opposition also introduced a Dalit, which they did.

Congress made the announcement in the knowledge that the BJP would work in several parties in the opposition. The Nationalist Congress Party, the Samajwadi Party, the Bahujan Samaj Party and the Trinamool Congress Party, about which there were doubts, all came on board. Nitish Kumar and his Janata Dal (States) stood firm in their support for proclaimed Kovind. The weakness of the opposition parties that support Meira Kumar is not as large as it could be if the Janata Dal (States) remained on board, although there was little chance of victory. But then, there is an irony because of Nitish Kumar, who had first encouraged Sonia Gandhi to take the initiative to develop a consensus name on the side of the opposition to the presidency.

Despite the fragility of opposition programming, but because they are all at the end of the BJP reception at their expense, the possibility of Meira Kumar who heads the opposition group in 2019 is an idea to consider. For the simple reason that she is Dalit, who belongs to the dominant caste Jatav, she is a woman and women appear more and more as a political group with a voice. And it belongs to the largest opposition party in the country, the National Congress of India, the member would be a natural claimant to lead a coalition. In addition, she has had a long and varied experience in politics, the Parliament as President of the Lok Sabha during the domination of the United Progressive Alliance led by Congress and administration in the government of the Union and training in the foreign service.

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15 Ways to Achieve Your Goals in beauty services at home in Mumbai Faster.

15 Ways to Achieve Your Goals in beauty services at home in Mumbai Faster.

With salon business goal setting, keep in mind that you will always have “short term salon business plans “to reach “long term salon business goals”. This means that interim steps along the way are important to your success for the future. Salon business goal setting is like having a roadmap to your destination.

1)the first step is defining the salon business goal you want to accomplish. For example, I want to create a salon business that produces x product for sale and attracts Y number of clients and customer monthly.

2)the second step is to create milestone or multiple steps to accomplish that salon business goal.

3)the third step is to create a process for managing and evaluating progress against milestone to reach you salon business goal. Setting timelines for your milestone will help.

4)train your employees show them how to offer your clients extra services when taking a booking.

5)set a goal for your staff ask them to add at least one extra service to every appointment booked and reward them when they achieve it.

6)Be genuine it is not difficult to value add but ensure that the value is “genuine”. Savvy clients can smell a fake benefit a mile away and this will reduce your ongoing credibility.

7)Bring suppliers on board ask your suppliers if they are willing to provide free gifts to your clients for promotional purposes.

8)stay in touch with your clients remind them that you are still there, offer them some free useful information and always give them a good reason to come back to you rather than try the new salon down the road.

9)find the complimentary service nearly every service your salon offer has another service that will compliment it and all you have to do is identify what those complimentary services are and suggest them to your clients.

10)Encourage your staff to smile and laugh often laughter is free and contagious and will put a smile on the face of your clients.

11)make your salon somewhere that people feel great do this and they will keep coming back! Negative statements never produce positive actions or customs.

 

 

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“Hollywood studios know that wider release of their films means better business. So, e-cinema and d-cinema can co-exist in India”

 

The Digital Challenge

In India, around 23 per cent of about 9,400 digital cin­ema theatres run on the d-cinema format; the rest are all on e-cinema. But d-cinema’s share is expected to rise to 30 per cent and beyond as there are no more an­alogue theatres left for digital makeover. “With more investments, we prefer to install either a mix of d-cin­ema and e-cinema systems or get only d-cinema equip­ment,” says a theatre operator in Bhopal. Compound­ing the problem is the fact that about 3,000 theatres — mostly single-screen ones — have closed down in the past decade or so. Of the 12,000 single-screen the­atres that existed before the multiplex revolution of the late 1990s, around 9,500 are in business, of which bar­ring 100 or so, all have adopted digital cinema. These screens are either new, or ones that have been con­verted by their owners to accommodate new technolo­gies. The rest are either shut or are in the process of converting their single screens to digital cinema, say film distributors.

What’s roiling up the waters further is the steady rise in

DECODING THE DIVIDE

Digital Cinema: Resolutions in digital cinema is represented by horizontal pixel count of 2K or 4 K (2.2 megapixels or 8.8 megapixels). It reaches theatres as digital files or digital cinema package (DCP), usually 90 GB to300 GB of data delivered via satellite/f ibre-optic broadband. DCP, an encrypted file, gets copied to internal hard- drives of the server. Decryption keys are separate and time-limited. D-cinema: Adopted in North America. DCI standard requires 2K or 4K resolution projectors: defined minimum contrast ratio, precise brightness level, calibrated minimum colour gamut. Projectors, servers conform to DCI specification. Anti-piracy devices protect copyright. Multiplex chains run mostly on d-cinema. Theatres pay Rs 8,000-40,000 per month on investments of Rs 15-50 lakh. Criticism: Expensive, long recovery horizon, consumes more electricity, not fit for smaller centres.

E-cinema: Adopted in India, Brazil, China. It typically uses 3-chip DLP projectors that produce better quality than 35mm film. Servers are either DCI compliant or MPEG MXF Interop format in order to adopt both standards. Projection systems utilise 1080p resolution (rather than d-cinema’s 2Krequirement). Colour points also are not as per DCI specifications. Most Indian theatres run on e-cinema.

Criticism: Low in quality, fit only for smaller centres (Rs 8-15 lakh investments per theatre; 4-5 years recovery period), long-term, fixed fee deals where theatre pay Rs 3,000-17,000 per month.


“Hollywood studios know that
wider release of their films means
better business. So, e-cinema and
d-cinema can co-exist in India”

KAPIL AGAR WAL joint managing director of UFO Moviez

the number of Hollywood releases in India. Compared to 20-25 films that hit the theatres here in 2009-10, now more than 60 play in cinema houses in a year. The num­ber is expected to climb to 100 in two-three years. Also, revenues from Hollywood films in multiplexes have soared from 5 per cent in 2006 to 21 per cent now and may cross 30 per cent in the next couple of years.

So which format will prevail? Or will they co-exist? Ex­perts are divided on the question. “Growth will come from new screens in smaller towns,” says Agarwal of UFO Mov­iez. “These won’t be the multiplexes but two-screen thea­tres because we have four to five models within e-cinema and five-six models within d-cinema. Not everyone wants bigger investments. The share of d-cinema may margin­ally rise to 27-28 per cent while e-cinema will continue to dominate.”

Cinepolis’s Sampat believes that if you invest in a supe­rior technology, the returns will be more. “We will be on d- cinema in all our current and future screens,” he says. “While there may be more e-cinema screens, a majority of our collections come from d-cinema screens.”

Taking into account the current dominance of e-cinema theatres and, buoyed by the commercial success of Furi­ous 7 due to wider distribution, sources say the next big summer release Jurassic World might open in both e-cin­ema and d-cinema formats.

This points to the snooty Hollywood distribution com­panies falling in line with small-town Indian reality. ED

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IN DEPTH “People come into brown-label ATM outlets as the signage is that of banks. Typically, 60 per cent of all swipes are at banks’ own ATMs” K.R. BIJUMON

Chief general manager, Muthoot Finance in the back-of-the-beyond. In that case, where does it leave the cardholders if the ATM networkbuild-up slows down?

“The ATM network needs to be ramped up to 3,00,000 over the next three years so the masses can benefit from ease of accessing their accounts, cash and remittances,” says Patel ofTPSCL. Now given Mint Road’s insistence that WLATM rollout be 67 per cent in the semi-urban and rural with 23 per cent in urban catchments, it’s anybody’s guess how this math will be squared, especially for the many who already feel the pinch.

Here’s another set of numbers and you know what a qtficksand we are in. In 2013, Axis Bank, HDFC Bank and ICICI Bank added 4,133 ATMs. The SBI Group (SBI and its associate banks) put up 15,000. Punjab National Bank, Union Bank of India, and Bank of Baroda (BoB) together put up 5,000 ATMs. BoB alone added 2,800 to double its ATM network. So a total of24,133ATMs from these banks alone.

In 2014, the system as a whole added only30,855, and the lion’s share is that ofby non-WLATMs (banks).

It goes to prove that the WLATM policy has been turned
on its head. If you go by the strike rate set by the RBI (see The Asking Rate), WLATMs were to sprout all over the place.

In the veiy first year of operations (based on schemes that operators opted for), at least 1,000-25,000ATMs were to be added. So if there were five operators, there would have been between 5,000 and 125,000 ATMs in the debut year alone. Now, not all WLATMs opted for the same scheme, in which case, the cumulative WLATM deployment at just over 6,000 would have been fine. But that was not the case. And we now have a situation wherein TPSCL alone has 66 per cent share of this base!

Patel is of the view that the inter-change has to be a viable one. ‘Why were WLATMs licences issued? To bolster financial inclusion. We then have to be remunerated.” It will not happen soon. The National PaymentCorporation of India (NPCI) that decides on inter-change is split between net- issuers and net-acquirers.

What’s gone below the radar is the fall in inter-change fee over time and a cap on the number of free transactions has come to bite banks. The average ticket-size of ATM cash

withdrawals has inched up to Rs 4,200 (from Rs 4,000) as customers pull-out bigger amounts due to the cap on the number of firee-transactions per month. Again this average ticket-size is misleading; it is much higher in the metros. The result of all this: it now affects banks’ current and savings account deposits — the higher it is, the lower the cost of funds — as it fluctuates more due to higher withdrawals. In turn, it means that ATM’s have to be “fed” more cash (and at shorter intervals), which pushes up operating costs.

That’s another issue. The cost of funds for banks to feed their ATMs is at best at the prime-lending rate (it’s their own money in any case) and this holds true for brown-label ATMs too. In the case ofWLATMs, it is at PLR plus margin as it is in form of working capital. As for moving the cash to an ATM, it costs Rs9,000 a month (24X6; Sundays off). “In this, there is not much difference between banks and WLATMs,” says Aiyer ofWliter’s Safegaurd. Just that for WLATMs, since the bulk of deployments is in the hinterland, costs don’t justify the rollouts.

Bottomline: there’s no money in ATMs (for those in the business that is)! HQ

^ [email protected] 0 @tabonym

For more on financial services, visit www.businessworld.in

INDEPTH

chain Cinepolis. “We plan to scale up from 193 screens to 400 by 2017, with all of them on d-cinema systems.” Gautam Dutta, CEO of PVR, the country’s largest mul­tiplex chain with 471 screens across 106 properties in 44 cities, concurs with this view. “All PVR cinemas run on d- cinema technology as we believe in providing a quality and premium movie-watching experience to our patrons,” he says. “Also, distribution of d- cinema is simpler, faster, cheaper and piracy can be better controlled.”

However, not everyone buys the latter argument. “Both d-cinema and e-cinema technologies are encrypted, so there is no question of piracy in e-cinema,” says Vineeta Dwivedi, CEO of KSS Digital Cinema, which has a net­work of300 e-cinema screens in India.

Tussle For Access

But the debate is not limited to discussing the superiority of one format over the other — it is a very real tussle, and can turn ugly too. In March, Mumbai-based KSS accused DCI-member studios of cartelisation, and demanded ac­cess to the dubbed versions of Hollywood films to cater to audiences in smaller centres. Through legal recourse and, later, by business arrangement, KSS secured the digital distribution rights of Furious 7, but failed to make a simi­lar case for Avengers, for which the legal process is still on.

“The dubbed version of Furious 7was, perhaps, the first Hollywood film distributed by a DCI member that went

“As d-cinema is a superior
technology we don’t mind paying a
premium for it. We plan to scale up
from 193 to400screens by 2017
— all of them on d-cinema”

DEVANG SAMPAT, business head (strategy).Cinepolis 76 I BW I BUSINESSWORLD ! 15June2015

 

on our network of around 300 e-cinemas,” says KSS’s Dwivedi. ‘When Avengers was released in April, Disney declined us the rights for its dubbed version. It becomes difficult for us to explain to theatre owners and exhibitors why we can provide them one film and not the other.” Emails to DCI-member studios remained unanswered.

Who Will Prevail?

Will d-cinema surpass e-cinema one day? No, say cinema distribution companies UFO Moviez and Real Media Network, among the bigger players which operate in both formats. “India is a diverse market,” says Kapil Agarwal, joint MD of UFO Moviez, India’s largest digital film distri­bution company. “Back in 2005 when we started, the ob­jective was to convert all analogue film theatres to digital screens. Now more than 7,200 digital screens are running on e-cinema. We are perhaps the only country that does not depend on Hollywood films for survival.”

Harsh Rohatgi, president (digital cinema) at Real Me­dia puts a different slant on the matter. “DCI-imposed standards are benchmarks adopted by big Hollywood stu­dios for exhibition of their films,” he says. “There is noth­ing wrong with that. The decision of a theatre or exhibitor to install a DCI-certified projection system is a business decision and one driven purely by returns on that invest­ment.” Real Media has about 650 d-cinema theatres.

However, KSS and other smaller digital players are de­manding access to at least dubbed Hollywood films till in­vestments in d-cinema technology are made. What they cannot ignore is five years ago, d-cinema theatres com­manded less than 5 per cent of the digital cinema uni­verse; today, they have a 23 per cent share

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