StreamSpace incorporates cutting edge technologies like decentralized storage systems and blockchains, which make it the most progressive streaming marketplace in the world. Filmmakers set a price for their work and are paid immediately by consumers, disrupting the traditional industry model.

STREAMSPACE are truly in a golden age for films. IMDb, an Amazon company, currently lists more than 373K feature films, 477K shorts, and 167K documentaries in its database, going back to the dawn of film in the late 1800s. The number of feature films released per year in the IMDb grew from 84 titles in 1910 to 2,530 films in 1921, then declined through the Great Depression and World War II to a low of 1,053 films introduced in 1945. From 1945 to 2002, the number of films produced climbed steadily to 4,032 films but accelerated in the past 15 years to a high of 12,871 films produced in 2017 YTD (source accessed September 8, 2017).

Furthermore, there is an even larger number of independent films that go unrecognized by IMDb or other film databases because of limited distribution / awareness or unwillingness to provide the meta-content that the database requires. Festival Genius, software for independent film festivals, has tracked over 6.4M people watching almost 70K films. The total number of films created each year could be as high as 50,000, according to Chris Hyams, founder of B-Side Entertainment and the creator of Festival Genius.

StreamSpace aims to introduce a novel distribution platform and an ecosystem community that will give consumers an opportunity to enjoy quality film content unavailable from conventional distribution channels, with a secure monetization engine that places more than 90% of payments directly into the hands of the filmmakers. Furthermore, StreamSpace intends to launch a novel financing service that will help filmmakers raise the funds they need to create and produce film projects.

Our goal is to become the world’s leading destination for innovative film content, with a deep catalog that will enable personalized viewing experiences and that will be rewarding for our two core customers, independent filmmakers and indie film aficionados


All of the performing arts industries — music, theater, and film- have undergone strong shifts over the past 100 years as recording / production technologies and distribution technologies have evolved. The internet has nearly destroyed the traditional recording music industry, with US sales of recorded music declining 80% as a share of national GDP compared to 1999. The film industry has not seen this dramatic erosion of value, but there have been three significant structural changes:

  1. As Paul DiMaggio noted in a 2014 article, “difficult conditions often root out more vulnerable mid-sized firms and lead the incumbent firms to concentrate on large projects and neglect niche markets.” The number of films available for view in the US actually increased by 50% over the first decade of the 21st century as the number of independent films in theaters doubled. However, the share of seats sold and total industry revenue outside the top 10 distributors has declined at the same time that most of the major studios have chosen to concentrate on a limited number of blockbuster films as compared to larger numbers of small projects (Lionsgate is the lone exception among top US film studios).

2. Digital recording and distribution have changed the economics of making and distributing films. The creative aspects of filmmaking remain a complex art form, but lower cost cameras and editing tools have enabled tens or hundreds of thousands of people to call themselves filmmakers, and the production values of amateur or independent films have increased dramatically in the past ten years. Digital distribution has made it possible to offer the same blockbuster movie in multiple formats to thousands of screens worldwide on an opening day. In 2016, US SVOD services (not including Amazon Prime) surpassed DVD sales, which peaked in 2004. While the DVD format is not likely to disappear soon (like music CDs, they represent high margin income for the major distributors), most independent films skip this phase and go directly from festival and art theater release to SVOD.

3. Netflix and Amazon have evolved from being content aggregators and digital distribution channels to becoming integrated content developers/owners in their own right. Netflix has a budget of up to $5 billion per year for new content, placing it easily in the top 10 studios in the US, , and the company raised its content budget forecast for 2018 to $8 billion, supporting 80 new films and 30 new anime series.

What this means is an erosion of choice for consumers as they mostly see the major blockbuster releases promoted heavily by the studios and an erosion of income for independent filmmakers who do not have access to “bankable” stars and multichannel distribution relationships.

The Problem
The movie industry, like other subsets of the entertainment industry, is dominated by a handful of distribution leaders that retain the lion’s share of profits generated in the industry. There is a strong Pareto effect: most of the industry’s annual revenues and profits derive from a small number of blockbuster films, with large budgets for promotion, frequently 100–200% of the total cost to create the film. By the time the studios tally up the global revenues and expenses, the small-budget filmmaker typically sees no profit or only a very small return on his investment of time, talent, and money. Furthermore, as many as 80% of the films produced each year are never seen by an audience. For filmmakers, this means that unless you are a “bankable” producer/director, you are at the mercy of a handful of large, powerful studios who have little incentive to deliver a return for your time and creative efforts. For most viewers, it means that you can only watch the handful of films that the studios want to support with broad distribution through theaters, network broadcast, and physical and digital distribution. All of the performing arts industries — music, theater, and film — have undergone strong shifts over the past 100 years as recording / production technologies and distribution technologies have evolved. The internet has nearly destroyed the traditional recording music industry, with US sales of recorded music declining 80% as a share of national GDP compared to 1999.

Potential of the StreamSpace project

For Filmmakers

+ Online forms to help complete and submit IMDb metadata, so filmmakers can stay in the StreamSpace environment as they upload and launch their film projects into the market.
+ Linked social media channels and promotion tools to attract audiences and build the filmmakers’ reputations and popularity.
+ Networking opportunities across the filmmaker communities, including opportunities to share tools and techniques, learn about new technologies and build audiences.
+ Support for additional video content classes, including animation / anime, live stream content, music videos, trailers and other short form content associated with films, immersive content such as virtual reality or interactive content, etc.

For Film Viewers

+ Increased viewing options including more supported screen sizes or SVOD thin client options as well as potential offline viewing options.
+ Opportunities to engage with the filmmakers through reviews / ratings, “behind the scenes” extras, or forum / chat room engagements.
+ Improved algorithms for superior recommendations.
+ Expansion of the genre choices to include films, shorts, anime, music videos, or other video content from a wider variety of countries, including China, India, Korea, and Japan.
+ Potential new film formats, including virtual / augmented reality or immersive content and interactive film experiences as mentioned above

Planned Level and Use of Funds

The maximum distribution will be the sale of 40% of the total number of issued tokens, or 400 million SSH out of 1 billion total tokens. StreamSpace is aware of the potential securities laws associated with this type of fundraising mechanism, and is making every effort with our legal counsel to comply.

The remaining tokens are reserved for running the film marketplace and the expenses associated with building the content library. We expect that we will have to “buy” some of the content necessary to build an audience, offering guarantees to film makers. StreamSpace will scale the rate of hiring and other expenses commensurate with the amount of funds that are raised. The expected expense profile will be as follows:


As mentioned above, there are several elements of the StreamSpace platform that need to be developed to a state of commercial readiness for our expected nontechnical filmmaker and film viewer target customer bases, including the following: + Distributed blockchain storage and distribution network sufficient to scale up to several thousand potential film files.

+ Consumer front end optimized for the key consumer screens, especially smartphones and SVOD thin clients connected to HDTVs.
+ Content recommendation engine.
+ Digital wallet and centralized account register holding SSH and fiat currency escrows for Owners and Consumers. Consumer accounts will just show fiat currency balances, while Owner accounts will show both StreamShare and fiat currency balances.
+ Internal token exchange with links to the major public exchanges where SSH tokens can be purchased or sold.
+ Content Owner front end for uploading the digital film content into the StreamSpace storage network, along with metadata that will support the StreamSpace recommendation engine requirements and also satisfy the metadata requirements for IMDb or other film databases. he content owner will also be able to inspect business performance trends including film popularity, viewer statistics, abandonment rates, ratings and reviews, and community engagement levels.


The StreamSpace business is driven by some of the best marketing experts in the industry. StreamSpace will continue to pursue its current lean, cost-efficient marketing efforts to grow the communities of filmmaker Owners and enthusiast Consumers.

As mentioned above, the StreamSpace community for filmmakers and indie film enthusiasts will include a set of social media channels that will help to promote the films in the StreamSpace ecosystem. These social media channels can be used to promote special viewings, festivals and other events that involve the filmmakers and key actors or other persons involved in the films, additional content, such as trailers and behindthe-scenes videos, as well as non-film revenue opportunities such as merchandise sales. The social media channels are also opportunities for film enthusiasts to post reviews and rating scores for the films and engage in dialogue with the filmmakers and/or other Owners.

An additional service envisioned by StreamSpace is a blockchain token ICO funding mechanism for new film projects, similar to the recent ICO for BRAID. StreamSpace will work with its filmmaker community on projects where this form of crowdfunding mechanism would mutually benefit both StreamSpace and the filmmaker. As with other similar funding programs, the token investors would achieve potential returns on their investment through royalty payments based on a percentage of the profits for the project after all costs. StreamSpace would retain a portion of the raised funds and act as a co-investor on all new token sale projects.


StreamSpace runs a very lean organization, with minimal administrative overhead. All employees are currently located in downtown Austin, which combines a highly attractive work environment with much lower operating costs than commonly found in other major urban locations with a significant blockchain development talent pool.

Being in the blockchain ecosystem and adhering to high industry standards, the firm recognizes operational costs associated with accounting, administrative overhead, legal, facilities, and other functions of a successful, well-run enterprise.

Stream ICO

Token sale progress: 69,135,875.45 SSH sold
TIMING ICO: January 15, 2018 to February 27, 2018
OFFERING SIZE ICO: 250 million StreamShares (SSH)
PRICE ICO: Price increases by $0.01 per day
Funds held in Multi-Signature Wallet

The minimum purchase in ETH & BTC is $25. The minimum for all USD payments is $1,000. There is no maximum. You can buy SSH with Bitcoin, Ethereum and US Dollars. StreamSpace, LLC will withhold 600 million tokens for basic operation of the platform.



The StreamSpace solution in its first iteration will feature basic functionality of the first eight technical components noted above. The ninth element of the solution, ICO/Token crowdfund campaign support, will be offered on an as-needed basis, based on the level of interest from filmmaker customers along with availability of StreamSpace technical support resources. Subsequent iterations of the StreamSpace solution may continue to expand and refine the functionality for both filmmakers and for consumer film aficionados

For more information please check:

Website | White Paper | ANN | Twitter | Facebook | Reddit;u=1344739


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