INTRODUCTION
For consumer worlwide, entertainment is a necessity. It's crucial divsion provides pleasure and happiness, important elements to health and well-being. No springsingly, the Entertainment and Media industry generates over two trillion dollars in annual revenue worlwide. At $712 billion, the US is the largest entertainment market followed by China at $190 billion. Although the industry is comprised of numerous subsector, the term's 'entertainments' is often narrowly associated with the film industry. Movie starts provide endless fascination for a curious public, while movies provide a reliable escape from realities of life. At the epicenter of that escape remains Hollywood, a thirty-one square mile parcel of land synonymous with glamour, excitement and the entertainments industry.
While the influence of Hollywood remains intact, its overall role in the entertainment ecosystem has changed. Hollywood studios who once dominated the movie landscape are now anxiously looking over their shoulders at hard-charging streaming services providers such as Netflix, Hulu and Amazon Prime. The remarkable growth of these subscription video on demand (SVOD) platforms has caused a significant shift in the balances of power. While studios and streamer Jockey for control, the obvious beneficiares are content consumer who now enjoy unprecedented selection. But is transitioning power from oligopolistic studios t like minded subscrittion streaming platforms a good thing? Or, is there a better solution for the industry? One that will raise the entertainment bar for content hungry conusmer while simultaneously ensuring an equitable dynamic between creators and providers. That answer is yes.
The currenct entertainment ecosystem is functioning but is undenniable flawed. The partinent notion of 'change before you have to' underscores the immediate need for rehabilitation. Warren Buffets stated that, "in a chronically leaking boat, energy devoted to changing vessel than energy devoted to patching leaks." Put into context, trying to improve the current state of centralized SVOD is not as productive as changing the underpinnings of its technology. Also required is a complete overhaul to he cigar-chomping corporate philosophy orchestrated by the studios and wilfully adopted by the streamers. By retooling the greed-driven business model, the ultimate beneficiary is still the consumer - the one who actually feeds the entertainment economy - but riding shotgun will be the entire entertainment industry. Fortunately, there exist a unique opportunity for technological advancement and socio-economi change. The lustre of yerteryears entertainment indusrty can be restored using the brilliance of today's technology.
While the influence of Hollywood remains intact, its overall role in the entertainment ecosystem has changed. Hollywood studios who once dominated the movie landscape are now anxiously looking over their shoulders at hard-charging streaming services providers such as Netflix, Hulu and Amazon Prime. The remarkable growth of these subscription video on demand (SVOD) platforms has caused a significant shift in the balances of power. While studios and streamer Jockey for control, the obvious beneficiares are content consumer who now enjoy unprecedented selection. But is transitioning power from oligopolistic studios t like minded subscrittion streaming platforms a good thing? Or, is there a better solution for the industry? One that will raise the entertainment bar for content hungry conusmer while simultaneously ensuring an equitable dynamic between creators and providers. That answer is yes.
The currenct entertainment ecosystem is functioning but is undenniable flawed. The partinent notion of 'change before you have to' underscores the immediate need for rehabilitation. Warren Buffets stated that, "in a chronically leaking boat, energy devoted to changing vessel than energy devoted to patching leaks." Put into context, trying to improve the current state of centralized SVOD is not as productive as changing the underpinnings of its technology. Also required is a complete overhaul to he cigar-chomping corporate philosophy orchestrated by the studios and wilfully adopted by the streamers. By retooling the greed-driven business model, the ultimate beneficiary is still the consumer - the one who actually feeds the entertainment economy - but riding shotgun will be the entire entertainment industry. Fortunately, there exist a unique opportunity for technological advancement and socio-economi change. The lustre of yerteryears entertainment indusrty can be restored using the brilliance of today's technology.
Introducing the Slate Entertainment Group
Slate Entertainment Group Inc. (SEG) is a highly-skilled amalgamation of entertainment, business, and technical expertise. Armed with strategic vision and the tools necessary to excute, SEG intends to develop a multi-layer entertainment ecosystem powered by blockchain technology and driven by a cryptocurrency designed for mainstream adoption.
Clear Mission
SEG's ,ission is to disrupt the entertaiment industry using a blend of technology and integrity. SEG seeks to demonstrate how a for-profit business operating with corporate conscience can achieve greater rewards for every person conneted to the Slate Ecosystem. SEG expects that the result will be an enriched experience for consumer and creators. To accomplish this, SEG plans to introduce BINGE, a blockchain video on demand platform; SLATIX, an electronic ticketing application; and SLATE, a digital utility token. To faciliate he functionality of the token and platforms, SEG's plan is to design and build SlatChain - a blockchain media industry delivery protocol that can be shared by small and medium enterprise for years to come.
RoadMap
Token Sale
Token Distribution
The initial crowdfunding effort is designed to introduce Slate on a board scale. The wider the intial dsitribution, the more rapidly Slate can adoption by both the entertainment industry and private individuals interested in improving their entertainment experience. SEG intends to allocate a total supply of 9,500,000,000 Slate token as follows:
Token Sale
Slate is a decentralized open-source curency. To help ensure that the currency always remains decentralized, 48% of the token will be distributed via the token sale. Through incentives and discounts, additional Slate will be distributed to individuals over time, supporting continued decentralizztion and protection from any one entity wielding incontestable power. This means the Slate development team will have to meet standards of the community holders when publishing updates and making changes to consensus parameters.
Content & Incentives Pool
The Incentives Pool is designed primarily for acquisition of content for the Binge network, and to incentivize partnerships designed to facilitate the acquisition and production of content.
Slate Group
The Slate Group includes certain directors, officers, advisor, independent contractors and partners of the Slate Entertainment Group as more fully described in section 6 of this Whitepaper. Tokens allocated to Slate Group are subject to a self-improsed SEG lockup policy whereby tokens are distributed 60 days following completion of the token sale and fully distributed over a 36 month period.
Marketing & Adoption Pool
By leveraging micro-rewards, the Marketing & Adoption Pool will be used to assist in the acquisition of business and consumer adoption of the Bing Streaming Blockchain Video on Demand services, and the slatix Electronic Ticketing Application. Incentives include promotional token giveway and incentivized acquisition of brand ambassadors to promote region-specific adoption of the platforms.
Development Pool
The Development Pool will be used to reward developers with incentives and bounties to ensure continued technical development of the Slate Ecosystem, and for the facilitation of community involvement.
ALLOCATION OF FUND
Content Acquisition
Funds will be allocated for the acquisition for original channel one of the Binge platform. Content will consist primarily of features length films, series, and documentaries. Also include will be the acquisition of previously released films in order to build a catalogue of content for channels two of the platform.
Technical Development
Funds will be allocated for the development and initial support of the Binge BVOD and the Slatix Electornic Ticketing application.
Marketing & Promotion
Funds will be alloated for marketing initiatives such as industry sponshoships, traditional print and media advertising campaigns, digital media campaigns, the establishments and on-going managemnet of social media, promotional giveway related to subscription, ticket and coupons, and the developement of the promotional Slatix Platinum Concert Series.
Corporate Overhead
Funds will be allocated for corporate infrastucture development and enhancement, general and administratives expenses such as office, salaries, wages, director and advisor remuneration, legal and accounting. The allocation is expected to provide runway of 24 months.
MORE INFORMATION
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