Filmgrid Diaries 20150508 - True Disruption

In one of the first comments received in our BitconTalk Thread, the observation was made that those who were behind a project that involves movies, should have good connections within the film industry. I found the forum curious to make such an argument, since it is precisely a forum that is based on disruption; it is as if it had been suggested that Satoshi should have been well connected within the banking industry to launch Bitcoin.

In short, that is precisely what we do NOT want to do in this project, we want to be as far as possible from the current film industry and its dubious practices and schemes, we want in the true meaning of the word, disrupt the industry. The business model is precisely designed to completely exclude current intermediary players who have to some extent hijacked the medium.

Although, it is a simple idea, the scheme is somewhat complex to understand, especially by those who are very immersed in the current model. I developed a diagram that at first glance can be confusing, but once understanding the logic behind it, it is harmonious and fluid.

It all starts with the users, there are several types:

• Creative User. Filmmakers looking to sell an existing movie, or who also seek to finance their idea.
• Viewer User. Anyone looking to buy or rent movies and / or series for entertainment.
• Investor User. User who is interested in being part of the financing of an independent movie project.
• Patron User. Spectators Users who decide to buy a film in presale, as part of support for the development of said project.

The flow of the diagram leads through the process to two things, income for creatives and investors, and movies or series for the viewers and patrons.

An important piece of information, the Filmgrid Production Fund, will initially be formed by the total collection of the ICO Phase II, with the sale of 400 million FILM tokens, from this point, it will be filled with the fee charged by Filmgrid during the sales in the "Premiere" modality and by the percentage of corresponding income of the productions previously developed with this same fund; in this way, it will always be growing, giving the opportunity to support more film projects.