A Decentralized Cinema Could Avoid the Pitfalls of Traditional Film Production by@pava
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A Decentralized Cinema Could Avoid the Pitfalls of Traditional Film Production

November 16th 2022
9 min
by @pava 3,888 reads
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N.F.T.'s connected art, however, never seems to "grow up" itself, and I find it monotonous. I believe that in the future, all content must be just like software. Blockchain and Defi are for a Metaverse in which NFT functions as a bill of passage. It is not motivated by nostalgia for a shared history. Already established works always fluctuate in value on the NFT market since the tastes of individuals who admire them do as well. An artwork's value is not increased by collecting NFTs.

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@pava

Pevana S

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NFT is boring, and probably that attached content is bored too.

Why?

Some claim that the NFT business will grow once again because it resolves a number of issues with digital material. N.F.T.'s connected art, however, never seems to "grow up" itself, and I find it to be monotonous.

I believe that in the future, all content must be just like software. It should always be adjusted to the tastes of those who naturally value it.

Blockchain and Defi are for a Metaverse in which NFT functions as a bill of passage. It is not motivated by nostalgia for a shared history. Already established works always fluctuate in value on the NFT market since the tastes of individuals who admire them do as well.

An artwork's value is not increased by collecting NFTs; rather, the first investment in an artwork is to appreciate it. When deciding whether to invest in a business, a savvy investor will consider the entrepreneur in front of them. The same thing.

What needs to be done to make the token and the art appear to be one and the same? Can we develop a system, based on the idea of a truly decentralized system, where the artwork itself can repeatedly expand and contract?

The smallest unit of film

In the late 1920s, the film is presented as a single artistic creation as the image and sound combine from various sources to form one. This is what made cinema the greatest artistic medium of the 20th century. Without a doubt, the talkie period saw an increase in the film market. This indicates that the roles are clearly defined both throughout the product's creation and during its supply. The visualization tree of the components used in film production, for instance, is shown below.

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You will then realize how crucial it is to respond to the smallest unit of film. What exactly is that? It would be like counting onion peels if someone asked us how precise we could make the tree's components in this design. Meaningless.

Simply put, music is just one component of a film's overall aesthetic. Even if the sound track of The Beatles on the film are the smallest musical unit! Focusing on the smallest unit involves both a desire to find and use talent as well as a desire to cut costs. Therefore, it is never a one-to-one match that determines how these elements are combined.

MTR Techniques

I'd like to let you know that the following piece of equipment served as inspiration for my article: I'll start off by concentrating mainly on the change's content. Cassette tapes might be played and recorded using a machine known as a multitrack recorder. At least as far back as the 1970s, it was present.

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The biggest benefit of this technology is that it enables one person to create straightforward copies and mixdowns, or track-making, at home. Younger readers might not be familiar with the operation of a cassette tape. A cassette tape is seen in greater detail in the figure below. When you hear a recording in stereo, you can simultaneously hear the sounds coming from your left and right ears using headphones.

Long ago, music media utilized a system of recording tracks of equal length, referred to as side A and side B, in various locations. A coin has two sides. Typically, a stereo tape will have four tracks on its surface: "right" and "left" for side A, "right" and "left" for side B, and so on. This is referred to as a "four-track" in this context.

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The reading head for this cassette runs in one way when it is inserted into a MTR. Even though you can only record the first half of the tape, you can still take advantage of the advantages mentioned above. You can perform multiplex recording, commonly referred to as "ping-pong recording," with these four lanes going in each direction.

Regardless of whether they are on side A or side B, the MTR may load all the tracks at once, record, delete, and alter the level for each track. Amazingly, this identical equipment was used to create Queen's Bohemian Rhapsody!

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Let's look at each track. The following is the procedure for recording.

  1. record the instrumental performance on each track.

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  1. balance the three tracks and record them on the B side of R.

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  1. record a new instrument by overwriting the A-side L and R on the A-side L and R.

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  1. record on the B side of the L, balancing it with the other tracks.

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  1. record a new instrument, overwriting the B side of R.

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The process produced the following three findings.

  1. The rhythmic portion of the content is added first, followed by tracks. Although it appears like you are combining several elements in the MTR example, first pay attention to the individual movements.

  2. The coordinated content has been identified and will likely be the only piece of content connected to the mixdown at the time of the re-recording. However, there are two states in MTR: monolithic and partitioned, where it is impossible to separate content.

  3. It is not dependent on certain materials, like magnetic tape, because it is implemented on a network. Additionally, it is anticipated that diversity would eventually emerge because the sound source material layers will be drawn from a variety of sources that do not take one another into account. There are more than four tracks, just as each lane of tape includes more than one layer.

Why a pair of wallets is enough

Relationships are the primary cause of popular band breakups, and financial issues are the primary cause of reunions. Therefore, the more wallets the better. On my project, though, two generally suffices.

It is possible to make real-time mixing simpler by using two turntables and a mixer between them. This mixer's job is to simultaneously build layers on top of the two sources it connects. You only require two wallets. The illustration of this turntable demonstrates the rationale for this.

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Along with synthesizers from the late 1980s, this deck was used as a "new instrument" in the music scene and actively contributed to the New Wave sound. In the present music scene, this style of track creation is still prevalent. Imagine that there are numerous stacked records on a table that already exists in my project.

Fundraising Methodology

Where is the spectators? Who are the viewers? Do you mean the people paying?

You might ask this question in the following way: How do we advertise? Small-scale advertising is inappropriate for urbanites sick of street art.

Of course, other well-known applications like TikTok rely on advertising and exchanging user data for their source of income. Why not use more effective techniques that avoid gathering personal data like many commercial streaming apps do?

There are still many issues with filmmaking nowadays. It is a lucrative industry, thus it is unlikely that young people will join it. the necessity to still deceive the authorities. Online reviews that are false, ticket fraud, and piracy, this one will need to strengthen the legitimacy of the artwork.

How can these opposing circumstances be demonstrated clearly? I try to complete them simultaneously. We can start making them with less money if we raise money the way I'm about to explain.

Once more, I'd like to suggest an operating strategy based on blockchain technology. Here, I'm mainly referring to the delegation of authority and the timing of decisions.

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I'd want to make a developer's note and list the conclusions from this figure.

My Developer's Note

(lesson learnt): Be "fair," "independent," and "individual"

  1. DJs with centralized operations are the first to go.

  2. Content should always be encrypted so that it can be connected to a token. It is impossible to look at it from the outside.

  3. Pair wallets are the components that surround the two wallets. The addresses of each wallet are stored and indexed by the Big Wallet.

  4. Describe the "invisible mixer." We alternate between MixDown and the two wallets' authority in the graphic. The act of choosing is authority. We require a system to stop it from being kept up. What kind of decentralized governance can we use for this?

  5. Everyone shouldn't gamble. There should be no greater loss of assets than deposited funds.

  6. We must think about what to do when hazardous stuff is included.

  7. The software rewards users who provide sound sources, but they can only take advantage of them if the authority of the source (NFT) has been discredited. This strategy aims to prevent an oligopolistic market for well-known musicians.

  8. The only thing that can result in something revolutionary and drastic are self-righteous actions. After they are demonstrated, such activities must be given the opportunity to validate themselves: wide inclusion that is fair.

Content is not king

Please keep this in mind. When do you let folks know about a good movie you saw? How?

Content comes first, followed by effective distribution. The content cannot be combined in this case, only the distribution. Without distribution, there are simply scattered shards of content that are garbage rather than content. Thus, we translate the phrase as follows: "It will come up with the material for the first time when you want to tell people about an interesting movie you have seen." You might think that the order is reversed: distribution is king, and on my project, that is indeed the case. As a result, the beginning of the distribution must be formalized. The gossip protocol is depicted in the diagram below.

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Cake Cutting Strategy

We think of you as a kind of expert on good movies. Although you may have generated that content, you know when to let people know about it and when to leave the stage because doing so revokes your authority.

The processes that enable this technique to function without cheating will be further discussed. Let me quickly abstract the main components of the virtual DJ paradigm I previously discussed.

Like the cake-cutting procedure, this employs an equitable and envie-free methodology. A cake-cutting contest The easiest approach to cut a cake is for one person to do the cutting while the other person selects the piece they want. The most fundamental game theory model is this one.

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Coins sent in by the wallet's owner must match the number of coins to be won. The game will then continue with numerous participants, thus naturally the following guidelines still apply.

Be aware that the surrounding individuals (i.e., content holders on the same side) lose more coins when B selects a different wallet, the more coins are earned as a result.

Similar to how the blockchain works, this will have an effect on the transaction that comes before it. However, because "choice" is authority everywhere, it should still exist at the conclusion of the process.

You cannot choose your action or gain more cash until you have left the game entirely and the other players have given their approval. Remember that the coins you receive merely serve to reward you for your effort in making the decision.

We can refer to the diagram below in the context of cutting a cake.

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This tactic is a means of transferring power, not a cruel deprivation. It's only a division of labor among our talented group. I asserted, "The Beatles are the tiniest unit of music." Empathy for the musicality here was the impetus behind the formation of that band.

Picking and choosing is insufficient, and randomization serves no purpose other than to preserve privacy. It hinders the person who chooses the content from maintaining authority.

The smallest unit of this project is the interaction described above. I've mostly talked up to this point about how I came up with the concept for my application. I'll go into more detail about how blockchain fits into this project in the following piece.

Continuing the story

Here, we have repeated model-based thought experiments and I hope you can see how challenging it is to decentralize an established artistic genre. Something that is not decentralized is hard to keep up. Who is able to rule Metaverse in such a circumstance?

In today's filmmaking, there are production and promotion costs as well as an end roll. However, I do not anticipate them with my decentralized filmmaking. The resolution is comparable to the delisting of a cryptocurrency coin. The life of the viewer is also the story of a decentralized cinema; not even the director knows when the movie will conclude.

I hope this helps you understand how to interpret each life and each viewpoint.

Keep dreaming.

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