 And with Hyperledger on the, with Hyperledger on the median, and with Hyperledger since 2017, I think just sort of run a meetup that hasn't been that active, but my participation has been wanting to build on the Hyperledger. One is build on the Hyperledger fabric blockchain and wanting to build in the media and entertainment space, specifically around the accounting side of things, legal contracts, etc, etc. I have a background in technology and some experience with with production accounting in the, in the, in the space. So, my goal is to build an organization that will that will fund will build a an entire production funded payments, etc, etc, using Hyperledger fabric. I mean, that's my ultimate goal. So, this is a project that I just recently set up in, in the, in the media in the Hyperledger media and entertainment special interest group. So, this was done prior to Dublin, going to Dublin back in, in September to the global forum, Hyperledger global forum. And so, yeah, so we're just getting our feet wet on that front but I have been, I've been pulling this idea together now for almost three years. So, I've got a lot of the pieces of this puzzle sorted out, but I'm now wanting to build a team of developers and people in the industry in the film industry. So, the ultimate goal will be to take a project from script rights to the very end into distribution, entirely on the on Hyperledger fabric. That's funding, that's, that's everything. So, that's, that's it. Now, in terms of the other folks on our, on our zoom here, we've got Tomas, who's our Tomas is our Hyperledger go to guy. And, but he's spreading himself across all of the different, the different realms and I see David's on here now as well. David is, these are all these are Hyperledger people, but they're not specific to the media and entertainment side of things but they're the, there are, there are our go to people at Hyperledger who have given us this opportunity to one, make these presentations that we've invited you to Jordan and also, you know, help us manage our, our, our projects, which we're, which they're doing a fabulous job. The other folks on here, Giovanni and Divak, I don't know them personally, but they are welcome to jump on and say hello and introduce themselves. Hi folks, if you, if you want. Hopefully that's, that helps you Jordan in in making, making it easier for you to move forward with your presentation. Thank you. I'd love to hear from anyone who wants to share it's very easy for me to jump in and present. I'm doing this every day now, like, five times a day. You know, and as you know, as you, Brett, you probably know I've been doing these panels. Well, almost years, I think some did somebody jump on and they want to just introduce themselves, because I like the sort of the, the, it's lovely to know who we're talking to it's more like a, you know, a back and forth round table sort of thing. Hi, good morning everyone. This is Vivek here. Absolutely. You guys are being wonderful as well. So just to give you a very quick one, I have 22 years of experience in consulting on ERP site from Oracle. I had developed an interest in blockchain like a six months back. So I'm just here to learn a couple of things in high pleasure, just to take forward. That's a short one for me. Oh, I'm sorry, go ahead, Jordan. I just going to suggest that I hope that you get signed up on the link that will put the, I'll put a link in the I'm kind of a hamstrung here with my limited capacity. Tomas, is it possible that you could put up the links for the antitrust and the, the code of conduct as well as a link to our media and entertainment? If you could do that in the chat, then we'll, we'll ask people that are, that are, that are participating here, if they could, if they're interested, join our join the SIG, the media and entertainment SIG gets your name in there and then we can start collaborating. We can let you know when the next events are going to be so it looks like Tomas is getting that set up. Thank you so much. Sure thing. Yes, hi, everyone. Who's this? Oh, Giovanni. Oh, this is Giovanni speaking to everyone. Hi Giovanni. Hello, Brett. Hello, Jordan. Good afternoon. Good morning. Good evening, everyone. I'm from Suriname. I don't personally, I don't have that much experience in blockchain. I just entered the role of blockchain technology. And I'm basically here just to learn a bit more about how high pleasure, but most importantly also to see how we can possibly collaborate on blockchain implementation and of course awareness in my country, Suriname. So that's why I'm here. So you're looking forward to a very fruitful session. Fantastic. Thank you for coming. Definitely. Alright guys, anybody else before I take over and dominate the mic. I'll do a quick intro. Hi everyone. My name is Leigh. I'm from New York City. I've been in the FinTech industry for about five years. And I've just recently gotten into the blockchain through some self learning and attended the hyper ledger forum and kind of got wind of this meeting happening and wanted to join and learn a little bit more. So that's why I'm here and I look forward to again to know all you guys and learning something new today. Fantastic. Welcome, Leigh. Yeah, New York strong repping. I'm a New Yorker. Welcome. Anybody else want to say hi before I jump in. I think I'm out of coffee. Alright. Okay. Let's get started. I'm just going to say first of all, thank you Brett for this. It's always fun to to talk about, you know, what we're building. Why, I think the why is very important, especially coming up as a as a filmmaker, or as an artist, and and utilizing this new technology. The, I think the, the, I'm going to encapsulate encapsulate as well as I can where it came from, what we're doing. And then where we're going right now. And that's a funny question. I like her a funny thing to try to answer because who knows. I will do my best not to pepper it with my, my vernacular, my New York vernacular. I'm super psyched to be here to share all these things. So I started out as a as an actor in in New York. And, and ultimately became a writer director because I didn't feel that there were, and at the time there really weren't really great representations of women on screen. I wanted to write that originally to act it but then I realized I really just wanted to direct it all so I started writing and directing, only to also discover again that there were, again, very few opportunities for women to and and I was going to throw out the statistic to just give you an idea. 95% of all films are are directed by men, white men, very particularly so 5% by women and then once you start to get into other marginalized and underrepresented communities it becomes less and less and less and less and less so we don't see representation of, you know, all the different cultures on screen. And that's not just in film that's in, you know, in television and things like that and we've seen remarkable change over the last decade, which has been great. But certainly it's still not equal by and it's still a struggle for underrepresented communities to get work done, especially by the gatekeepers so in 2015 I got into crypto. I like many people had heard about it but I was like oh that's a gamer thing I'm not interested, you know I'm not a gamer, and only to find out in 2015 Wow there's a there's a really cool element here of self sovereignty that appeals to me as someone who struggled as an artist and struggled with banks, and, and I was like, I dig this. So by 2017 I was speaking, mostly about at a few blockchain conferences, mostly about, you know, harnessing the power of media. And I was, I also had Charlie Lee under contract to do a documentary on him but I found it very difficult to get people to understand how powerful media really is and I think a lot of that is because the power of blockchain and, and, and the developers and the people that own Bitcoin at that time that's the, the, the maxi interest was was just very tunnel vision. So, you know, to, you know, last, you know the pandemic, which changed a lot of people's lives, including mine. You know, I had been bridging New York from Brooklyn to mother it for about a decade and really sort of building out my, my films and things like that, especially with Spanish talent which is incredible and if you watch Netflix and you know that. And, and the pandemic just basically pulled the rug out from a lot of people and especially in the entertainment business, especially independent filmmakers. So, during that time, you know, I ended up on clubhouse and on clubhouse I ended up hearing people talking about NFTs again, again, and I had known about crypto art, again, again I had been like, you know, crypto or whatever in 2017. When when the crypto kiddies came down the pike I was like why would I be interested in that. And so, just to say that at some point, and a couple of clubhouse rooms it started to click for me. And then I realized, oh my God, this is going to be an absolute revolution for for filmmakers. I mean people in cinema. And so I, I started the NFT film squad in February 2021. And literally it was a barren desert. The whole point of starting it was to find people like minded people who could see that this was a revolution. And while nascent in the way that we could use it, something we could truly build and build a better future for cinema for filmmakers. So, you know, I started meeting weekly on clubhouse and people started to trickle in. And as people started to trickle in you know the conversation was constantly around the technology constantly around our limitations. And just trying to find each other. And the first time that we spotlighted an artist we spotlighted a guy that you guys may know David Bianchi. The reason I say that is because he had been and I still think he's the first to have minted on on a platform called ephemera minted a six minute short film that did not lose its cinematic quality. And that was super impressive considering the, the, the, at that time so let's say April 2021 because it's changed so dramatically since then, in many ways in some ways it hasn't. But at that time, open sea was offering 50 megabyte file size now imagine I shoot in 4k, and you want me to compress it down to 50 megabytes and keep my vision as an artist it's impossible. And then I think super rare was offering 40 known origin like 50 Zora 250 at that point I'm talking about the different platforms that we were looking at where we could you know where can we put our art. And of course then really you couldn't truly meant on the blockchain, you were minting a token for it because you were really putting it on IPFS. So, there were a lot of limitations that we were not only trying to work through but actually trying to push forward and innovate and and not a lot happened on that regard until January. And in January 2022 I had realized during this process that someone needed to actually mint an entire like story because most people most of the people the filmmakers were like okay I'll put like one scene up. I put up a scene, but I was like, we need to be able to prove that that this that we can tell an entire story here. So I meant it on Zora, which is again an IPFS situation but they had 500 500 megabyte file size. No one else was even close at that point. This is January. The minted red flags is a one of one motion picture. And I worked with a guy that is a is a was one of our first first people we found who had been working for happy Madison which is Adam Sandler's company and post production for like 20 years and he and I figured out how to compress it without losing the cinematic quality because again as a as a as an artist as a filmmaker. The quality of the light and the dark the quality was so very important for the storytelling. So we did that and I'm super proud because if you watch it on Zora and it streams beautifully on Zora. It, it's all there, you we didn't lose it. And so that was amazing because he was able to bring it under under 500 megabytes. Now the reason I tell you all this is because these are still some of the the limitations we you know in the in as the filmmakers and in cinema are still dealing with all the all these months later. But what also happened in January that was very significant and and pushed the movement forward for filmmakers this little niche part of Web three was Julie Pacino came in. And for the first time I saw a really well thought out in a T strategy for fundraising your for your feature film, but you know this could apply for series. You know short films whatever but it was, it was really well thought out with a lot of utility that that that really had community in mind. That's a big thing right that that that we all talk about and I think it's the important thing to circle back to that, you know, for us these are the big difference between a Kickstarter for instance, and this and certainly legacy Hollywood is that these are creator led communities that have absolutely the potential to be as powerful as studios. And so that is one of the things that that really sets this movement apart and as as a revolution, let's say, or an innovation or an expansion of how we as artists can can create and make sure that that there's a place for us in this industry Julie Pacino dropped keepers of the end and sold out in January. That NFT strategy allowed her to actually be in production she's in production right now so she's an incredible case study, not only is the first to sell out and to fund her feature with with an NFT strategy, but also you know as a creator led community and and the utility that she had as has for her for her community, and the fact that she's on set now, making a film with her community. So that that and then Miguel Faust, a Spanish filmmaker. I brought him on the NFT film squad and one of our spaces so in January we started doing four spaces a week rather than one because the alpha that was coming down the pike was so it was moving so fast that you know we pride ourselves and really being on top of it, like knowing what's happening, you know in the ecosystem as best as we can because we all know it moves like wildfire. Miguel came in I brought him in on the squad. And, and then he dropped his feature film NFT strategy which was different than Julie's and also incredibly unique, because in his for instance, you know, at the end after the after he makes his film and by the way he's in the last week of shooting right now in outside in northern Spain on the coast of Brava. After he does this right, and he gets, and this is where it gets hybrid and less web three and more web to, but gets distribution and you know, and it goes out into the world, the monies that will come back to the project. 50% of that will go into a Dow, and then the community, because it's always about the community because the community are the ones that funded this film will go back into a Dow, and the Dow will then be able to choose the next project that that they do. So that was another unique way and a unique utility to bring to the community. So that was January 2022 now I'm going to cut really quickly to March the end of March. And again this is this is all just building day by day by day by day just laying the bricks and trying to create a foundation and find other filmmakers and and and bring them in and build up the community, so that we could just, you know, keep innovating and in the in the space. We started seeing people come in who wanted to build the rails. The first person that that I met was beam with me high crafts now. And he's the he's one of the founders of beam. It was really the first like, here's a possible distribution method so we've just talked about funding right, and if we talk about like, going back to January my, my motion picture which was a one of one which was collected immediately by Claire silver because it's historic. And it's in her vault. So that's one of one piece of fine art, then we have Julia Miguel that we're doing NFT fundraising strategies, but now we're like trying to solve this next thing which is, which is distribution and distribution and Web three where the creator actually gets the majority of the revenue of the work rather than having gatekeepers that one is a creator that you have to go to and say hey can I make my film and then they come back to you and they say, Oh no, I mean they don't say oh no you're a woman where we don't have an audience for that and they say that when only 95% of the when 5% of the the filmmakers, or directors working or women right so there's a there's an aspect of dignity here for the artists to you know because not only do you not have to go beg someone and then sell your entire IP to them and then you don't get the majority of the revenue you might actually get a drip every once in a while this way, you know, you are capable with your community, so you're getting on to the majority revenue of your IP because you own your IP, and then you can go to someone like beam, if you want, and that those are distribution rails for you there's also then who came in around the same time was like a company and then they come in, you know, people like Benjable, and again, Benjable is like a pipeline, a distribution pipeline, very powerful technology, they have partnered with decentralized pictures, decentralized pictures is the web three arm of American Zoetrope and American Zoetrope was built by Francis Ford Copeland 1969. So that's just to give you a little history and bring you up to March. In March 2022. We realized that at South by Southwest a lot of what we call legacy Hollywood with their big money and their big bags were coming in but they had no idea. They had no idea what the court ethos of web three was no idea what what an NFT was even though they were dropping NFTs. They had no idea they were just trying to figure out how do we keep the system that has worked for us in place but make them think that we're, we're, you know, part of this new cool trend. And they don't realize that there's the one very cool thing about this really cool trend is if you're web three and you see someone coming in with web two ethos. You pretty much are not going to be accepted. But the, but the important thing was, you realize that they have a lot of money, and they could. They could make a lot of noise. And there's a lot of people the normies you know not the people like us who are in this so early but the normies don't know and so they they're interested they're curious they come in. And we, and my thing was, we started this to put to to build a better future for filmmakers for creators. So we have to protect what we're what we're building. So we sort of group together as a coalition and with the squad. You know, we created a movement and that movement. We branded as film three. And so on March 20, I dropped that hashtag in Twitter for the first time in, in, in relation to this movement and and on March 23 we dropped it in my spaces. This is the movement. This is what we're doing. This is bringing us all together. Again, it took on a life of its own. And that was March by, by May 16 when I was at the Cannes Film Festival and I was already invited to speak on two panels. I got invited to speak on a film three panel. And I was like, what? And I was like, do you even know where film three started and they were like no and I was like here, right here with me. So, from there, then Monaco had a film three panel and then it's just as exploded. I mean, in our small little ecosystem is truly actually exploded globally. I see, I see it everywhere. I see it from people that I've never even heard of coming into the ecosystem and all around the world. But the thing about film three. It is, it's a movement. It's an aspiration, right? We're not there yet. We all know that web three is not there yet. It's also an aspiration of what we want in a better world. And film three is, you know, is a play off of off of web three because the ethos are the same right a better world for for creators. And for us it's a better future for cinema. And so we have been laying the foundation of that. Now, you know, all these months, it's almost 20 months for me just day in and day out and and basically since, since May, March, basically since March. From May, we then went to New York and we had, you know, a huge party at NYC NFT talking about this onboarding filmmakers. And this is what we do at the squad. The great thing has been amplifying, you know, the projects that come in. Yesterday we did macro verse. Wow, what a very cool project they've been building really stealth and they're doing their part of comic con this weekend and I'm speaking on one of their panels. I mean, it's just incredible. Another, another project that's really incredible that has come in is called color. It's just like it's just compounding exponentially. And for me, whose entire job right now is been to to stay ahead of this. It's it's it's I'm kind of like running right now I'm just trying to keep up with these incredible innovators who are building the rails for for the artists and for the filmmakers so that we're not. We're not being challenged and limited by file sizes, which we still are at this moment, but they're actually platforms that are building for us, not only for fundraising, but for actual. You know, for distribution in Web three for even more, you know, in a T strategy super unique. I don't think we've even scratched the surface on on what this is going to look like next year. So to bring you up to date right now. You know, again, the squad we meet four times a week we amplify projects coming in and just making sure that that people know who who's here, who's working in the space, who's building. And, and then we're you know it a lot of this is onboarding and education and that's really, really important because as you know in the media, NFTs and Web three have a bad rap and I think that it's unfortunate. And we've got a lot of work to do, because truthfully, this is the most innovative thing the most revolutionary thing for for filmmakers, you know for us to again be able to to make creator a creator led community just think about that. Like, if you are. I don't know, I'm just going to use myself as an example but as a woman and part of the LGBTQIA community, and which meant for a long time that that the gatekeepers decided that there was no place for me. So I couldn't go to someone and say hey I've got a story about whatever, because they would say well whatever doesn't have an audience and then that would be the end of that conversation and believe me I've been trying to get feature films made for 10 years. You know it's funny that. What's his name. The, the director of three billboards. He said the other day he's like no one wants to make sad movies anymore. And while I can kind of understand that I am actually someone who cut their teeth on quote unquote sad movies. And for me, they're just meaningful stories and I think it's really important that we see representation I know from my work. When I did the see is all I know which was my Oscar contender. I, when I took that around the world, whether it was in Dubai, or, or, you know, Vermont, or wherever the, the, the, the way it impacted people and the stories that came to me privately from people where they said, thank you for telling this story because I experienced something, whatever, made me really understand that there were a lot of stories in the shadows, and a lot of people that needed to see themselves represented and understood and felt like that they belonged and so I know that part of what I do, you know, even like with red flags which is about intimate partner violence. Like to see as all he knows about dying with dignity and red flags is about intimate partner violence. And for, you know, if it changes one person's life, then for me that I've done my job as as as a filmmaker. And I did not realize that when I started that I would be doing things that were like social impact. So the reason I say this is because those are the kind of stories that gatekeepers are like well it's not gonna make us a ton of money so. And then we get, we, you know, we don't get any farther. And those stories don't get on the screen. And we see that that we saw that a lot up until recently, when you know, Ava DuVernay made a big change in the business with what she's been able to do with the distribution and things like doing Queen Sugar, which was a television series that she did with with Oprah, where literally she only hired women directors. The reason that is important is because she got pushed back first of all from Hollywood they're like how dare you and she's like, you never said to Game of Thrones how dare you only only hire men. And Game of Thrones pretty much did that for a decade. But what she the opportunity that she gave to women were the opportunities that were not being given and we're being gate kept. So that brings us all the way back to this technology and why it's so revolutionary because if you have a community that believes in you. And once your voice heard out there, once your project, you know, if they buy into your, your community, let's say with by picking up an NFT, then they are helping get that that project made. And then the really cool thing is that they're really proud of the work that you're doing if you're a great leader and director, and they're proud of the work that you're doing then they become your marketing arm. They're in house amplifiers they are your marketing hub and they're out there telling everybody about it. And then the third really cool thing about a creator led community is that your community who has wanted to see that project come to life has amplified and is amplifying that project becomes your audience as well. This is just this is the difference between this and Kickstarter and certainly the difference between what's going on in legacy Hollywood that they have not harnessed this power so it's the power of your community. And that's why we say creator led communities can be more as powerful, or maybe one day more powerful than studios. And then the other thing is of course is that you, you know, if you want, you still hold on to your IP. And so you control your IP and you haven't given that up and therefore the majority of the, the revenue comes back to the creator. And however the creator and the community have, you know, done that it's all very unique. So that brings us now to what's happening right now which is in order to try to get a lot of the the filmmakers that are sitting on the guidelines. And we are throwing the inaugural film three summit in Los Angeles in two weeks, two weeks from tomorrow we open. We're premiering with a really powerful documentary out of Dubai. And also David Bianchi is going to be opening the entire this is perfect because David was the first art filmmaker that we, we spotlighted and he's opening up the, the whole summit with a live performance of I can't breathe, which was that that particular motion picture NFT that he minted. And then the next day we have panels with people from Legacy Hollywood. You know, one of the panels is building a bridge from Legacy Hollywood to Web three. And we have a lot of experienced people coming in from Legacy Hollywood, who are in Web three, going to be talking about it. We have a fundraising distribution panels. You know how to be, you know, a strong creator led community. I mean, again, a lot of this is about onboarding and, and a lot of times like right now, I've probably possibly overwhelmed you guys with information. I'm not giving out this much information on those panels we're going to give bite sized pieces to the people that understand very specifically, especially if they know nothing about NFTs they know nothing about Web three, they don't even know what a metamask is. They don't know that they don't understand a blockchain. They've heard about Bitcoin and Ethereum. They have no idea what hyper ledger is, like, the idea is, is to begin to onboard those people and let them see how this is going to revolutionize their life as an artist. And then on on the third day we're just having as my partner Julian likes to call it a happy hangover brunch, because oh because Saturday night we're doing a bunch of Web three artists musicians. So there's a big party, Saturday night after the panel is just a big celebration so everybody can talk and and have a good time and then on on we'll be offering some trailers and and and hopefully an icon presentation on on Sunday and sort of wrap it with a chill brunch. But again, the, the, the mission here is to onboard the mission is to keep building out this ecosystem, this movement. You know we really believe that film three is the next wave of cinema. And if you take a look at cinema historically. It was silent motion pictures. And then you suddenly, you know, that was all studio things and the French new wave came around, and then American zoa trope in 1969. That was the American new wave. The Sundance and all of that kind of really started to hit is stride, you know in the late 80s mid 80s late 80s with good machine and killer films. And that was the beginning of the American indie independent film. And then we really believe that film three and this movement inside Web three and this technology makes this the next wave of cinema. So that's kind of, I told you I could really talk. And that's kind of the, that's a story and I'm sticking to it. That's pretty amazing. There's a lot there, Jordan, thank you. I, I think there may be a few questions here but I have a couple if you don't mind I'm interested in. And what your thoughts are on the whole concept of this intermediating, they will call them legacy Hollywood and what parts of Hollywood, legacy Hollywood are really going to be primary for the new wave of NFT, the new filmmaker, the new industry that is being built film three what what parts of legacy Hollywood are still invaluable to the community. Storytelling. Number one storytelling. So if you bring in a someone is experienced as Bob Bacon which we are so lucky Bob Bacon has come to Web three with a full, like 40 years of experience as the Vice President of Disney and the Vice President of production of Paramount. And he gets it. He sees how beautiful this is. So his company is virtue animation and they are coming in with experience experience and storytelling so here's the thing. You can have a lot of new movements and this and I'm not going to this is not throwing shade on Christian music I just happened to have grown up around a lot of people that are involved in it. And just when you when you saw it as like as a, as an industry. Most people didn't care if the music was good. They didn't care they just like the fact that it was Christian. And, and, and I'm a big believe it's a little bit like independent film as well sorry but like when independent film started, people are just like, you know, I've got a camera I can point and shoot. Does that make it good. Does that make it store. Are you telling a good story or you just is your are your friends, just in family and your parents like yay, Johnny made a film. I mean literally someone wrote me the other day and she was like, hey, I haven't talked to you in 20 years but my son and I just made a film. I'm like, yeah, good for you. And I don't mean that to be like, I'm not trying to be an asshole. I'm just saying that story is always going to be what matters. And you have to, for me. You always have to serve something bigger than yourself and I don't really mean that just as a director I mean that's the reason why when I became a director and I realize wow I can't put myself in front of the camera and behind the camera because I don't know what I'm doing behind the camera. I need to do one of these things and do it really well so I can serve the story. So I think that that's where where when legacy Hollywood is coming in and they're coming in with the Web three ethos and that is really important that they understand but they bring enormous experience and the value of that experience the value of what a good story is and good storytelling and crafting a good story. And by saying that, I mean we can really talk about how Hollywood may not know how to craft a good story anymore because all they do is use, you know, used up IP, but, but truthfully, there are plenty of people there that do know how to and certainly how to do it better more efficiently than a lot, let's say, of people like that come in and do a PFP project and they have no idea what they're doing. They don't know how to tell story, because they started with with a cartoon picture first and they're like oh my God we got to write a story, rather than the story was written with that cartoon picture in mind. Like the story came first and then the characters if that makes any sense so for me story is is invaluable is the thing that that legacy Hollywood will bring and money. They can they have a lot of money. So you know if they want to put that legitimately like DCP, you know they bridge that they come from legacy but they also come from revolutionaries. So Francis Ford Coppola could not get his films made which is why American zoetrope was was built. So I think that they come with with great leadership with a Web three ethos. But they also actually have some money so that they can really help move this movement forward if that if that answers your question. It's a great question. I think you're going to get a lot of different answers from a lot of different people. Yeah, that's great answer I see exactly what where you're coming from on that we drill down a little bit to to the business side of Hollywood. I'm interested in your thoughts on on IP and how we're, how we're disintermediating the, the legal side of contracts and and IP etc etc as well as our, our investors looking at NFTs, how are tax strategies, tax incentive strategies being managed. Are you seeing anything on that front because this is a very important component to filmmaking, you know, there's no money ideas can't get in front of tens of millions of people without a couple of bucks which is why I'm very interested in knowing your thoughts on on how much of the legacy Hollywood in that sense in the business side of things can be pulled into and attracted to the technological side which is going to be a many people that are, that are removed from the processes and that don't want to be removed from the point are fearful that that you know they're not going to be needed, you know, payments and things of that nature, where you get those on chain, etc etc. So what are your thoughts on that and and as we were nearing the we got lots of lots to continue maybe we can look at doing another session and a few months or something like that but you know this is a tremendous amount of information that you're bringing but your thoughts on those and then if anyone else has any questions just jump in and and and see what Steve Jordan has your thoughts on what we just talked about Jordan go ahead. Yeah, I mean, you know, you're going to need a bigger brain than me on this one Brett. I'm an artist that that it's still trying to wrap my head around tech tech and really trying to wrap my head around business. I, I have encountered so many really cool and because I spotlight them, we have again we have spaces four times a week so you can only imagine, I'm getting so much information from so many bigger brains than mine. Every week that it's mind boggling. So to try to answer your, your question with IP. Look, Hollywood is going to fight tooth and nail to hold on to IP because that's the money. That's where the money is. But they're going to have to capitulate at some point to a degree and I don't know what that's going to look like, because it's going to either look you're either going to be blockbuster you're going to be Netflix. You know, when she comes in and you adapt or you don't and you die. So what that looks like I don't know what I do see what I have seen is a lot of projects coming in already with VC money. Now, how do I feel about that. Not, you know, not one way or the other at the moment, because again back to sort of like representation. A lot of the money that's already in NFT or Web three is being held in big bags by a lot of white guys, because they were the ones that were in Bitcoin early. And so we do have sort of that still, you know, so their interests are going to be in mostly in the same things that they were before. And we're just trying to, you know, say that there are not say, create a world where if you are, let's say, the Tasha, the Tasha is a hip hop artist that wasn't doing, you know, really great with her record deal or streaming and she came out of the green is an incredible leader has sold so many music videos, but the community the black community has really rallied behind her she's a great leader. She's a terrific artist. And, and again it's a perfect case study for if you if your tribe wants to see themselves and see themselves beautifully, they will come in and support you and so there's this, you know, they don't have to have the white guys big bags because they are carving out their community and their artwork and seeing it there and paying for it and and making sure that that that their artists are elevated. And I think you see that in a lot of these different let's just say tribal worlds or cultural cultures. The, the idea of IP, the idea of representation and a lot of this money coming in the VC money goes to guys like proof, right proof has has a bunch of VC guys and they get a ton of money. There are people coming in building the rails are trying to build the rails here for artists and in film three and using the word film three. And, you know, I keep a, I'm not going to name drop any of them right now but believe me we have an eye on them because you have to move with web three ethos, even with your VC money. Bring the VC money in but ultimately remember that that IP is up to the creator. Right and I really beg creators do not give up your IP do not give up your IP it's very hard because a filmmaker wants to make a film and if someone's like yay you know we'll let you make a film but we're going to take 70% of your IP 30% is better than 1% I'm like. Come on, you know, we got to we got to create a better world and not let that sort of legacy Hollywood web three kind of, you know, exploiting the artist. Keep happening so VC money is coming in. Some of it seems to be working okay. And, you know, as far as like the blockchain technology, I mean it's going to be even in 2017 I talked about this. You know if you're if you're sending food to Africa and this was a case study that was in a TED talk. You know the blockchain is incredible for for being able to timestamp where that product goes so that it doesn't get taken on to the black market. Right so there are many ways in Hollywood Hollywood's known for his creative accounting again which is why you if you sold your IP it's like yay we're going to give you like one or two points on the back end. You never saw those one of two points because of that creative accounting this way. They can't get around it it's why you're getting pushed back on the blockchain anyway, whether it's you know, as for finances or for voting or for all of these things because the blockchain. I mean, from what I understand all these years is immutable. So, this, this can't do evil idea that it can't be corrupted because it's a blockchain and it is millions of nodes out there, rather than I select few that are that are, you know, pulling the levers. I think it's very powerful. And I think we're going to get a lot of pushback from legacy Hollywood. And I think they're going to have to adapt because I think this this technology just on the basic blockchain side of it is is undeniable, and will become more powerful more powerful as people. People are begin to understand it exposed to him begin to understand it I don't know if I answered your question but that's about it. We're still in, we're still in the mid 90s in terms of in terms of what the technology is able to do for us and they I completely agree with you that there are a lot of the immediate the immutability of the blockchain is going to provide a lot of protections. And it's going to provide a lot of confidence to any of the activities that happen on chain. I don't have any more questions and we're so anybody else out there that is is interested in the back Giovanni Lee. Tomas David, any other questions out there go ahead guys if you have some. I had a quick question thank you Jordan you're a breath of knowledge that's cool to me. I know content distribution is one side but I'm super curious about like the decentralization of the content creation side of things. So like basically like allowing creators to blend and mix and match, you know, across IP. And I was listening to a podcast where Rob McClaney of it's always sunny was talking about his, his company Adam that he's building to kind of help do this and I'm just curious like do you see this happening on the grounds in the community like Avenger style content creation where people are sort of ping ponging and building across, you know, lines. It's so cool. Great question brings me to several, several that I know. So if you know these guys fringe and the fringe drifters is a project franchise project. They, they are an incredible project so they actually came from legacy Hollywood. And this is why they do such an amazing job their independent legacy Hollywood let's say so they sold their film prospect to Netflix. And they didn't, here's the two pain points for them one, they didn't make a ton of money, because you know, I don't know if you remember but Netflix was like, you know, about 10 years ago they're like yeah we'll buy your million dollar budget film for 100,000 and if you don't like that, you know, you can go fuck yourself. And so they that they ended up in that situation where they sold off their entire IP. And while they were on Netflix which was like yay at the time, when they wanted to build something off of that IP, they couldn't. So what they did was they realized in Web three that, wow, actually, this, we can actually take this, the cinematic world that we wanted to do a prospect. And we can create that cinematic world without prospect without infringing on that IP, we're just going to build out this world. What they did and it's called the French drifters, and they involve their community in so many ways the community is built is is creating the costumes and the, and the set I mean it's just insane the level of detail that the community is involved with. Now ultimately like anything you know look we're talking about decentralization but the truth is is that not everyone can can direct a movie there's a director, and there's a good reason why there's a director there needs to be a vision for story, a story that vision needs to be upheld, and everything goes to the director from the production design to the costume to the to the composer to the cinematographer whatever to uphold the story. And so it's the same with friends right, and there's again it's a it's a franchise, and they are just killing it with their community building things, virtue animation I'm coming back to them. They've done something so clever, they're taking all the link, all the IP generative projects that bombed or got robbed like Yeti's and Pudgy Ping. I don't think it was Pudgy Ping but I can't remember but all these Kevin, like all these memes, and they've created the basement gang and they're doing an animation on those that live in the basement and they live in the basement because they were, they were absolute abject failures, and they're creating so their community is also coming in and and writing stories hidden ones. Their community is helping write the stories for for like literally they have writer rooms with their communities. So, let's say that you never wrote but you had a desire to write. So you're in there and become a part of writing the lore writing the screenplays and of course again it takes craftsmen that will that may have experienced will level those things up we hope. So the story is is told so I don't know if this answers your question but this cross this this creating of community this decentralization this being like look, if you're a part of the community you can come in and do this. You know, again, like virtue. They have literally taken Yeti's and and and said, you know, Kevin and several other of these IPs. So this is really like a collaboration. And they're, you know, they're creating story around it so. And the same thing like with with non fungible films they actually licensed a bunch of board a yacht club to be in their animation stories so there's a lot of stuff happening I mean I can't think again this is a whole other conversation but does that answer your question. Yeah, it's super exciting and give me some giving some stuff to look into. Thank you. Yeah, yeah, for sure. Great question late. Anyone else out there got something for Jordan. Listen, I'm very very happy. Oh, I'm sorry go ahead Giovanni. I just wanted to say everything was basically very clear. I will follow up with you guys on LinkedIn, probably for future references. Did someone say like what is that. Sorry. Twitter. If you want to be if you want to be a part of the NFT movement or the Web three movement Twitter is where you follow where you where you get. All right. Perfect. That that handle Giovanni is Jordan you want to give out your. Yeah, give out your web through your NFT squad handle for Giovanni there. Yeah, NFT film. Squad. All right, that's the squad handle and then mine is, I think. I think I never know if I put an underscore under it or not. I think that's it. And yeah, you'll get all the alpha. Fantastic. I'm so pleased that we were able to have you, and it was awesome and very informative. I look forward to our next encounter and I'm, I'm following the NFT summit in LA I can attend but I'm definitely watching how that how that unfolds but thank you so much for taking the time for us and thank you everyone here. This has been recorded will be on YouTube. I'll send you guys a link for the the so we will get lots of viewers after after today so it will have been recorded. Thank you Tomas. Thank you. David. Thank you Leah. Thank you Giovanni. Thank you for coming and, and everyone else and this is. This is the hyper ledger media and entertainment special interest group signing off. You guys have a great day. Take care now. Bye. Thanks everybody.