Good evening, good morning, good lunch, everyone depending on where, wherever you're from. Apologies for the little sort of glitchiness switching between tunes at the start. I was trying to find one that was good, but I don't think any of the introductory music is
very good. Maybe that's something that Twitter can improve on. I went through all four of them. I think the best one is vibes, but I mean if you have your own favorites, let me know. Maybe next time we can play that number one hit next time. Anyway, welcome.
to the space with clean source. It's great to have you here to have you here. Great. We should be sure to start starting very shortly indeed. I just need to put a few more announcements. We can expect more people to join during the space and the space is obviously recorded. Also, if you're not too familiar with clean
or web flow.io and you'll be taken to sort of a more extensive website showing concept art that sort of thing. I'm just going to pause myself for sort of 10 seconds or so. Well, I've put another very quick announcement, but I'll be back in 10 seconds or so. Back in a moment. Thank you.
Hello everyone and welcome back to BSc News Live, NFT time with CleanerSource. Hopefully we'll be starting very shortly as I was saying earlier. If you're not too familiar with CleanerSource, the best thing to do. Well firstly, if you just look at the people in the space, we've got some cleaner
I'm not sure what you call yourself, either as individuals or as a collective, but we have some cleanersaws, cleanersawry, in the listeners. What you can do also is click the blue writing at the top, which will take you to their Twitter profile. There you can get to the cleanersaws.com/
website. If you didn't have any clean source in your wallet, the website that you're taking to CleanSource.com is fairly, well, you can't really do that much on it, however, if you then head to CleanSource.webthlow.io, you'll be able to see more information about them.
Obviously you can also join their discord and things like that. Join their community and ask what they're about. However, I think we'll be learning a lot more about them. Obviously when the speaker from CleanSolids here, the official account,
Yeah, we will be able to get going. I'm just going to meet myself quickly just to Double check exactly who's speaking him. I'm going to invite the right person up. I don't want to invite a random up be back again in 10 seconds be I'll be speak very very soon
Fantastic, thank you very very much. So we've got Andrew and Cab from CleanerSaws speaking of apologies that took them a little bit of time but I think I'm personally ready to go. I'm Cab and Andrew are you ready to rock and roll? Hey, hey, yeah, sorry for the confusion now.
Yeah, we're definitely ready to rock and roll. Perfect. Fantastic. Thank you very much. It's great to have you here first. We'll thank you very, very much to your time. Listen as well. Thank you very much for your time. It's great to see so many cleanersaws listening at the moment. And would you be able to start off perhaps by a little introduction about yourselves and your role within cleanersaws?
Sure, I'll start. So I'm CEO, cleaners, I joined the team right after mid. So for those who don't know, cleaners, so I minted late November 2022 and I had a great conversation with cab who's up here next to me, literally the day after mid
and shortly thereafter joined the team. My background, our team's background is all in creative and marketing and Web 3 business development. So I came in at that time as more of a sort of business leader. My background is in investments in particular
As a taric exotic investments across emerging markets, I've been working at a number of front office hedge fund jobs for better part of more than a decade actually. And most recently, my partners and I raised $250 million
under a private equity branch invested that over four years, two times, so $500 million in four years. But I left that job in 2021 to pursue other endeavors. And one of those is cleanersores. I'll leave it at that and turn it over to Cab.
Thank you very much, Andrew, yet in camp, please go ahead sir. Thank you. Yeah, that's super epic. I'm way more active than that. My language is not money. It's animation. So, hi, I'm camp, everybody. One of the co-founders of Clean Assource and Co-Creative Director.
Like I said, I have an access to background animation. I'm an anti-award nominated animator. I've supervised animation for the last half decade. I've been involved on projects like Game of Thrones, Pattington 2, every fantastic piece made, I've worked with.
HBO and stuff like dark materials and a bunch of other clients from from Disney to Netflix to Prime basically everybody in that whole Hollywood ecosystem I've delved in music videos as well where I worked with artists like Kate Trinana and our whole team is is a cohort of artists
that come from the same similar backgrounds. So we've got animators from minions and spider-verse, basically every Marvel project out there. And yeah, we're basically a group of professional artists wanting to bring something special to the space.
and sort of retell the narrative on how IP can be incubated. Fantastic. Thank you. That's very, very interesting. I think in terms of sort of artistry talent and expertise, previous history of what you've done, I think you're probably the most qualified project
I might have ever spoken to in terms of the art you've produced and the work that you've done historically. This is directed towards mostly, Kat, but obviously Andrew, you're more than welcome to the head of the thing. Why did you decide to join Clarence's Souls?
I don't know if, yeah, how you joined, always, you know, an idea that you have, the new approach to Andrew or something. But, you know, why do you decide to essentially go into NFT creation? And also, on the face of it, I know this probably, you know, isn't true, but, say, animating for Game of Thrones and then animating
for an NFT project. I don't want to say it sounds like a step down, but obviously they're very two different worlds. Do you feel as though you know you're technically stretched in cleanersaws as well? So I'll just break that down very quickly. So how did you first get into cleanersaws and why and also is it technically stretching for you within cleanersaws?
Yeah, for sure it is. We don't really distinguish either. We treat it in very much the same way. Cleanestores focuses more on cartoon animations. So, you know, that's where the team that has experience with minions and spiderverse and all that fun stuff comes into play. But there's not many very differences.
on one end, you know, you're animating lightwalkers and horses and dragons, and on the other end, you're animating the super cute stylized clay dinosaurs. For us, we saw Web 3 and NFTs as like a natural trajectory for where entertainment is going.
And just a new approach. And we sort of like, you know, everybody on the team has incubated or created IP for other big players at a super high level. And we just felt that here was there was a massive vacuum for quality in the space. In 2D, there were some good projects like the Azuki's obviously.
come from Blizzard. But in the 3D space, at least as it pertains like 3D animation, we really saw this kind of vacuum that we wanted to fill and that we felt confident in our ability to do so. And we saw that Web 3
We could bring a title shift in the way you dev IP. You can monetize early on in the product development cycle. Traditionally, the team all knows this. We've worked for Disney and Sony.
that jazz and traditionally you sort of have this large upfront investment over like a really long time horizon so you know if you're gonna make a movie it's gonna be the productions gonna take about one or two years and it's a huge huge huge risk you don't know if it's gonna stick you don't get the product test your minimum viable product you basically
work on the movie for like anywhere between four to six to seven months before you have your first what they call like a test screening, which is basically a friends and family screening or they sort of vet a specific audience and everybody sits down and watches the whip
version of the movie and you sort of pray that it's going to work. But oftentimes what happens is you've got like all these execs sitting in a room looking at everybody like a hawk and some kid sort of decides to get up to go to the bathroom, everybody panics and like we have to rewrite the whole movie, nobody likes it. And that happens a lot of times. So for us, it was like
You know what? As artists, we really know how to appeal to wider demographic. We've done it for everyone else but ourselves. It's a very thankless job. It is cool but when you do it at a studio level, it's Chris Pratt that gets all the praise.
the artist and ironically 90% of the film is made by us right so for us it was just like on one end we thought that we could sort of you know bring about a title shift in the way things are made but we also wanted to to create something for ourselves in a different way.
Thank you. Firstly, Cab, thank you for all the dinosaur modelling and the white walker modelling that you've done. I'm thanking you now. We do thank Chris Pratt as well, but thank you for really making the movie. Thank you all movies. And obviously, clean the source as well. Thank you there.
I do dabble myself a little bit in 3D modeling mostly just sort of photorealistic static scenes animation. I don't really have the concentration or for that. All the different keyframes and things, my animation is just turn out awful.
you're doing and what you've produced I think is really, really genuinely very high quality indeed. Obviously your project, well, yeah, Claynosaurs, Claynosaurs, why do you decide to choose dinosaurs and also why Claynosaurs?
I mean, why not? We can get into Clay, but for dinosaurs, a lot of us grew up with stuff like Jurassic Park. I myself have worked on Jurassic World and I was a huge fan growing up. We're big on nostalgia. Some of us grew up with little foot and we're back.
But dinosaurs are just, you know, they're everything. They're, I think they're culture and age and gender agnostic. Everybody's fascinated by them. As you grow up, they're sort of like this larger than life idea. And for us, we also felt that there wasn't very many
dinosaur projects. There are some, but there was an in there. And also we had dev these sort of really rough iterations almost two years ago at this point of what the cleaners could look like. We wanted the design to be super simplistic and have many
different species and build them out to be really conducive for toys and collectibles. So that's where the simplest, stubby legs comes from and the short little arms and just the archetypal silhouettes. But that was sort of the plan. It's like, why not? Everybody loves dinosaurs.
and our whole kind of ethos was to appeal to like a super wide demographic, the four quadrants. And for Clay, it sort of, we were into the idea of Claymation. It was a way to distinguish ourselves stylistically from other
other kind of dinosaur projects or IPs. And we just love the name "Clanosaurs." It was a name that wasn't on Google anywhere you searched, which for us was super important. I think the mistake some projects make early on is they
don't look at everything forward looking from a marketing perspective. So you'll have oftentimes there'll be projects that'll be like, oh, crypto something like crypto turtles or whatever, right? Or the something adjective or now. And the problem with that is
When you search on Google, you'll have a thousand hits of many different things. For us, if you're going to type our name on Google, we've got to be the first thing that shows up. That was definitely a play on that. Once we found the name "Clean Astars" we're like, "Okay, this is it. That's the grill." Fantastic. Thank you.
your expertise certainly does shine through in cleanershaws. I've just looked you up on IMDB as well and the credits that you've got are very, very impressive. So in terms of artistry, animation, cleanershaws listening, your
in very safe hands there. Thank you, Cab. Yeah, for all that you've said and yeah, and opening up about your history and things. So thank you very, very much. This next question might be more perhaps directed towards Andrew, but obviously, Cab, you're more than welcome as well. It's
quite a generic question, but why did you decide to mint on Salana? And as well, do you think that you'll stay on Salana? Do you think the future for Salana looks bright? And perhaps, you know, if you could knowing what we know now in the current market, would you still mint on Salana?
Yeah, I think if I if I describe the business to you and briefly the answer actually becomes obvious right so as a business clean of sorts is trying to deploy an immersive entertainment experience and in 2023 entertainment is movies it's short porn video it's
really short-born video and it's gaming and it's all these different things. And part of that experience and a lot of everyone listening, especially if you're on your phone right now or your Twitter is a good example as well, you know you scroll and there's like action reaction action reaction. Part of a good entertainment
experience is that it's frictionless, right? There's no laboriousness to it, right? So when you think about that objective and we're trying to build that across Web 3 and across Web 2 and other traditional distribution platforms, you need to
have something that doesn't feel cumbersome. So on Salana, what we're able to achieve is reliably quick transaction times. So when someone clicks a button, it's action reaction, and research shows that even something, anything above a one second like reaction time after clicking,
user feels it, right? It depreciates that user experience. And the reliably low gas fees. And I mean, you don't need to research to tell you that people don't like to pay more money. They'd rather pay less money. That's just economics, right? So those two things made Salana an easy choice. Now that was like the business
Then when we got here, there was actually this amazing community and support system surrounding us in all the different parts of the Salana ecosystem. And now we built up a great community there. So as far as the choice goes, it was obvious
then it's still obvious now and moreover we've developed a really great community here. So that's why we're on Salana and I think that's why we're here to stay. And there's also the fact that it's like it's massive. I've been over this actually this morning when we had this multi-chain kind of spaces but really another thing that can
Consider is on Salana, there's so many interesting tech startups, whether it's backpack or dialect or cupcake or booths or everyone that's sort of building really fun and interesting ways to use NFTs and create multiple use cases. For us, we'd so much support from the startup.
and we still have that today. It's almost like this collective brain trust of all these different companies sort of coming up to us and being like, "Hey guys, wouldn't it be really cool if you tried this?" And here's what we could help you bring to the table and here's a new way that you can
present your product or that people can experience, um, claim a source. And that was a big thing for us. We, there's no way we would have had that sort of, um, you know, that sort of, uh, support on, on Ethereum. Um, and we found that Ethereum had this tendency to be a little bit, um, lethargic where you've meant.
And you know, you just people collect and hold the NFTs and there's not much else to it. And for us, Salana sort of presented so many ways for us to innovate on the NFTs side of things and just really find interesting ways to promote digital collectibles with multiple use cases.
I do agree. Thank you, Cab and Andrew. One thing about the Sillana, I think the differentiates itself from other chains along the networks, is it's sort of got its own aesthetic and the wallets that it has as well. It feels like they're made for digital collectibles. It just feels, well,
user interfaces that Solana has. Yeah, feel a lot nicer, for example, yeah, Phantom backpack, that sort of thing. And I'm going to get on to a similar question, sort of a project wide question, but very quickly, Krab, I'm looking at all the different animations that you've got and they're all really
the very realistic and sort of very organic. And I was firstly wondering what software do you use perhaps or different collection of software and also the animations. Do you model them off existing animals? So maybe a horse, trotting, a puppy, running, that sort of thing?
do you start completely from scratch and think, well, maybe this is how a rhinoceros might run. Not rhinoceros, sorry, a steak. Steak. I don't know what the dinosaur is called, sorry. Yeah. Yeah, for sure. Let's get into it. All right. Well, the first question is just like full stop. It's not that they're realistic. It's that, you know, they're
smooth and stylized and curated, that's what makes them look like anything you'd see from Sony or other companies. For sure, we looked at animals and with everything we're doing currently, we always do that. I think there's oftentimes when you're animating characters, you look at reference and you ask yourself, "How can I
exaggerate that or sort of take what resonates with people from that animal, bring it into the character. You know, the the tricep, for example, I was when we were building a cell, I was looking at a lot of like micro pigs and platypus and the way they run and trot is like super, super cute.
So we bring that to the table, cats, puppies, a lot of smaller animals because we felt that like, you know, part of what brings the cue factors like this juxtaposition. So for example, like, you know, the stegos and trices in real life are super huge. You get this assumption that they are big.
But very much like a myrkopeg versus like a full blown like war hog It's just adorable to see like a miniaturized motion that sort of plays on expectation So we were definitely looking like add a bunch of cute pets and animals and and you name it as far as as far as software
There's a lot of software we use specifically for animation. It'll be Autodesmire, which is the industry standard for animation. And that was being industry standard is super important for us because one of the biggest hurdles is onboarding artists into the space. Part of that comes from
Maybe the taboo that NFTs have and we wanted to be a Trojan Horse there and it really streams line the process if we're tackling it from basically a professional environment and anytime we need help, other from freelancers, or we want to make new hires, it's just a
brainer to make that process frictionless. But we have other departments. We have lighting, which, often times use both Maya and Blender. Rigging will use Maya as well. It's a whole bunch of software. For our render systems, we're using Arnold's.
along with a render farm. There's a whole lot of things that play. It's definitely a complicated pipeline. Yeah, it certainly sounds like it. I just sit at home myself and use Blender, Render with Cycles, Bishboshbam, you know. I mean, I've researched Render farms, but I can understand why you'd use them with
claimers but no it's very interesting indeed thank you once again. Obviously there's a lot of NFT projects out there and a fraction are successful as claimers. I think the art that you've got and the team behind the art contribute to that
success. What is one part of the contribution to the success of cleanersaws? But what key differentiators do you think are there that really separate cleanersaws from the thousands of different other NFT projects out there? Yeah, I'll go first and then I'll let Andrew can speak to this as well.
For us, it was like, look, let's design these things in a way that's highly recognizable. I know Pudgey's sort of won that game on the Ethereum side of things. For us, it was like, let's first bring the quality meta. It doesn't matter how long it takes us to build it.
lead up to mint took us a while, but really we're unapologetic in quality because that's going to be the Trojan horse. And it's such a familiar thing when people really wanted this sort of vibe of kids are going to love it, adults are going to love it, but above all else people that are not in the NFT ecosystem can see the clannels and have
like a gut reaction. And oftentimes the sort of factor here is people see a cleno and then they find out it's an NFT. And the reactions is like, wow, I didn't know that was an NFT. I thought NFTs were, you know, it's not what my assumption of NFTs are. So that was a big play.
But it's not just the art. I think we have a little bit of a unicorn team in terms of marketing, of course, the art side of things, Biz Dev. It's a whole sort of orchestra play. And for us, we had so many case studies. We spent
the better part of a year studying the space before our initial release. I think the mistake a lot of Web2 players or companies make when they come into the space is they're like super tone deaf. They're not tuned into the space and for us it was like we really have to be here and walk the
walk, not just talk it. And so a big part of that was making sure we study the space, we understand it. We're very much a part of the ecosystem as individuals before we went out. We were very careful curating our hype cycles. We had this amazing team of advisors, both on a
and Salana that really sort of helps us bring it home at the start, but also I think a part of a project's success, maybe fortunately or unfortunately, is maintaining the floor and maintaining the hype and the attention economy. So definitely it's, you know,
It's one of the things we try to do as much as we can and we're in containers so we maintain attention retention as much as we can. But also we had a plan. So we didn't want to approach it with like, let's mint and holy shit. Now what do we do? Right after mint day, we had these tactics to keep everybody in
aged in the lead up and the following months there was sort of like a streamline release of stuff to make sure that people knew the trust is so important. I'm going I'm rambling by the way but trust is so important in the space and that was something that we had to cure
And we knew that it wasn't going to be easy. But we had to show people that we're here to stay. We had to reward holders as much as possible. So we had a lot of really fun air drop phases, a lot of marketing plays, a lot of partnerships. We were very careful with the partnerships that we struck.
whole dance of things. I don't know if Andrew wants to get into it as well. Maybe I can translate the ramble into a more concise answer. Yeah. I think you hit on everything. But in a nutshell, I think we just have a really well balanced team in that we've got a creative team that has the capability of outputting
studio quality 3D assets and Nick was explaining your previous question. It's a very long pipeline and requires a lot of experience working at these studios to know how to do that and we've got a great team there. And then similarly we've got a great team on the marketing and BDS side that's well acquainted with
Web 3 and knows the ins and outs of what resonates in that world and in this world. And then you've got sort of like me who fills in all the other parts of this kind of rounds that out filling up the business and finance and operations side of things. So and all that means is
that we've got these great active planning sessions that occur day to day and we're thinking far out, taking every decision with a heavy hand and not necessarily letting things fly by without thinking. And it results in a very strong product with a targeted approach that resonates well.
Brilliant. Thank you very very much. That pretty much answers as well. I was going to ask, you know, how have you kept your community so strong or since launch? I think you know pretty much gone over it there. We will sort of to an extent come back to that in a moment. I was going to ask about your different
different collections that pop up as well on Magic Eden. So there's obviously the Kleinosaur's and there's some I'm not sure how to pronounce such as Sardinehas and then you know things that I can pronounce like Claymaker, Clay Quassons and the Jugantic Egg and what really fascinating, well I'm
interested with the gigantic egg is that I think this is correct, can please do correct me if I'm wrong, but you can see these surface imperfections of fingerprints sort of around and you can see them if you zoom in on a lot of the clay clayness as well like where people have molded them. But yeah, my question is on magic either in the
There's the clay maker, there's the clay and what are these and what purpose do they have apart from being incredibly cute and fun? Can you put the clay in the clay maker and make I don't know a clay thing? Yeah, the other collections are magic Eden.
Yeah, so the Claymaker sort of this, if you think about it a little bit like the EasyBake of, it's like a forging and transmutation item. It's an item that's used for everything. Some of them, the super rares are non-deflationary, but most of the Claymakers have durability, mechanism, and are deflationary.
As are the clays, the clays are sort of again Let's if we can consider it a little bit like a resource in in your classic kind of like RPG RPG games like like a crafting resource Of which I and your correct me if I'm wrong. I think we air drop 31 or 32,000 of them at the start the start
early on in the project, that's it. Yeah, and each different species received a different set of possible air drops there, everybody received two clays. So that was pretty cool. And then the other drops are part of our IRL unlocks. So it's exclusive, exclusive
who's the collectibles that you receive if you show up at our parties, whether it's like NFT and YC, Lisbon, that was breakpoint, LA, and oftentimes just for the fun factor, they're designed like a food group that sort of speaks to that location. So obviously in Lisbon, we had the
Sardinia is, if you want to pronounce it correctly. But basically it's a can of sardines because if you're walking around in Lisbon, you'll see plenty of that in the souvenir shops and just everywhere. The qualsons were in Paris. And really it's just a really approachable use case for NFTs. We treat them a little bit like Pokemon cards when we're on location.
and the fact that it's a digital collectible that you receive allows us to eventually mutate it or you know, air drop more things or whatever, but the point is it's digital and we can do stuff with it and reward the holders. Those items are like exclusive geolotated drops in the same
way that if Adidas was to say everybody that shows up at this conference gets, there's like a possibility of 500 limited edition shoes. That's what we were doing. So a lot of these food groups are actually going to turn into really distinct exclusive gear for the Klanos. The pizza
We recently announced we wanted to have fun with it. It's going to be a companion rap character because it's New York and we thought that was funny and the community survived with that. And there's always there's always little Easter eggs. So if you look like in the pizzas, there's like these little rat eyeballs and it turns out
turning on and off in the sewer. But yeah, for us, all these collections, some of them are deflationary, not all. Some of them are more items to collect for your Klanos, to be able to sort of peacock and have more items to wear eventually.
Yeah, I'll leave it at that. That's very good. Thank you very much. And once again, the animation, the art in different collections themselves are exemplary. So thank you. Obviously, Clayna source, you're an NFT project.
What specifically, what specific Web 3 technologies, so to speak, have sort of helped you get to where you are now. Do you think you can achieve what you're doing at the moment without Web 3 and also in the future? Sort of what are your plans?
for expansion within Web 3. I took a question. So could we achieve what we have without Web 3? I'd say it would look a whole lot different than it does, right? So the opportunity that Web 3 gives us is this moment where we can
a crew of fanbase and build out and test our product early on as we build it versus if Web 3 weren't here, if the ability to sell digital collectibles didn't exist and didn't exist in the way it does in Web 3, right? Because the collectibles market is not something
you, but typically IP is developed and then it's tested with after they've invested, let's say tens of millions, maybe 100 plus million dollars. And then if that's a successful moment, then they will audaciously abuse that IP in every form they can through things like lectibles.
And only a few brands are capable of surviving that next level as well. But what we're doing is sort of this opposite model where we're able to test early on in the life cycle. So without Web 3, we would be building this IP in just a way that permeates into
to web 2 and traditional distribution, which would mean that today we'd likely be in a place where we are looking for partners to develop more content after having incubated the IP. And there's still a ton of value without the web 3, right? Like I would guesstimate that the IP value
value of cleanersor is just sitting on its own is upwards of $10 million. Just that IP value, assuming we were building this in our basements and never showed a single person. So there's a lot of value in that as well, but it's a very different business model. So Web3 gives us this really great ability to develop early on
And to get this feedback from our community develop a fan base and build. So it's just a different thing altogether. As far as what continuation of Web 3 looks like and how we're building out in that direction. And as I alluded to in the answer here and then in other other answers.
We're building in all directions, right? So we want this to permeate across all kinds of different, like any entertainment friend would you kind of want it to be everywhere. What that looks like in Web 3 is all the things Nick just teased are part of what we'd like to be an experiential entertainment platform that sits on our website.
And that will have different parts of it that are sort of a game of light experience where you can go in and use your clean of sores and use your claim makers and use your clay to craft different items the way Nick just described and to put those items onto your clean of sores and to further develop those characters
in two more unique versions of themselves and to sort of level them up and enjoy that world in its own manner. I think that the Web 3 community enjoys that interactive approach. I think that as Web 3 and Web 2 all become one big
dollar one thing, the general population will also enjoy having a game of that nature or a gamified experience that I've described. And so we're building in that direction in Web 3, but also knowing that that will become a frictionless component of entertainment generally speaking.
Thank you very, very much. And in terms of funding, cleaners also have some very, very talented members on your team, apart from NFT royalties. What are your plans for
generating income. Obviously in the future, you mentioned a few things there, but is there anything else, yeah, apart from NFT forward, sees at the moment, and also perhaps you have all your plans for the future for generating sustainable revenue streams?
So, as it stands today, just to speak to sustainability, our royalty revenue stream allows us to be self-sustainable at the moment. Obviously, we're also only able to grow so quickly with that level of revenue, because we effectively sort of just invest everything back into the business.
But to grow in the future and to open up different revenue streams, we're looking at, we're not looking, we're really developing merchandise at the moment, we're looking at doing different run of physical collectibles and integrating that into, with a digital sort of component to them.
We're looking at larger content creation and speaking to partners on longer form content. So these are all different avenues by which we could monetize the brand. We're also in a fortunate position and this goes back to your earlier Web 3 question where we are
are able to selectively choose what we do. We're not in a position like in my earlier example, or in our basements we've built something and we need to monetize, we have a great sustainable royalty stream, and that means that we don't need to force the brand. I think a lot of people will recognize when a brand is forced.
You know, they're just putting out too much stuff too quickly in too many places and you quickly go from, you know, that really great shelf space at Toys R Us or part of it, you know, the best example, but you know, the really great shelf space at the Toys store all the way down to like the basket at the front, right? And that's not where you want your brand to be. You don't want to be in the#
You want to be prime real estate all the time. And the way that happens is that you force things too early on in the life cycle. So the royalty revenue stream and the web 3 community gives us this ability to be very selective about all the things I just described. Like we don't need to rush the merchandise in such a way that we need to get to revenue on that
particular stream very quickly. Similarly, we're working hard on a high quality collectible that is also married into a digital framework. And then again, we're also looking at developing this game on our website, and that will ideally have sort of different
different ways to monetize things inside there. It will be a free game, but it will also have different accelerators and options in there. So, you know, then there's the other options of content production and those avenues as well. And, you know, as you talk to these content producers, if you will, or
I mean production studios because we need a bigger production studio to help us do longer form content They'll have their own opinions and often you might be in a position where you say well, I haven't got a choice like I've got to do with these guys say and and that's at the behest of your actual brand right like so now you're taking a hit on the brand value to accelerate your revenue
And we don't need to do that, right? So these conversations mean that we get to drive, we get to drive the narrative, right? Like we get to tell these people what we're gonna do and if they don't want to do that then we don't have to do anything with them today and we'll do something in the future. So there's only a different ways of doing it, but we have a sustainable stream of capital.
right now to continue building while protecting the brand. And I think that's incredibly important, right? Because a lot of brands go way too quick and make a lot of mistakes along the way. And we're building a really, really, really strong foundation that will allow us to build this brand for ideally not just years but decades.
Fantastic. Thank you very much. And what, like, you know, in these decades, is there sort of a brand that perhaps you think it's comparable to at the moment? I don't know, maybe like the toy story characters.
or something like that. Is there something around at the moment that perhaps you aspire to not necessarily be, but be sort of to an extent successful and recognised as? Yeah, you know, for me,
When we started building this thing out, I was always thinking, "One day it's going to look a little bit like if we built Minions via digital native platform like TikTok or in our case we're starting in Web 3." But the team was looking a lot at Minions.
Masters of the universe was a huge one for us just in terms of what they've done for toys and collectibles. And yeah, I would say a healthy mix of something a little bit like Angry Birds, Minions, all that jazz for sure.
Fantastic. Thank you. Yeah, and I think the example of minions is very good. I actually never thought of that because obviously they're pretty much all the same but all a little bit different. So yeah, I mean, it'd be a good NFT collection. Yeah, thank you very much once again. And in terms of the general NFT market, I know during the couple of months there's been
a bit of sort of towing and throwing about the future of NFTs. But where do you see the future NFTs perhaps in three to five years' time? Personally, I think projects like yourself, I think you've got a very special project, very good project, but then also the
Concept of NFTs for example property deeds and things stored as NFTs and contracts as NFTs You know, they're always available out stored publicly that sort of a massive we could utilize it for as well But where do you think NFTs could be or where do you hope to see them be within sort of three to five?
digital ownership rights and like economically speaking anyone who studied economics and like I said earlier my background is in emerging markets when you look at emerging markets like the most fundamental and important thing in any market is the ability to enforce property rights and the
jurisdiction to do that and then the actual ownership, like the respect for that ownership. Without that, an economy can grow. So, like the digital economy and the internet that gave birth to that, not too long ago when you think about economic terms and things that have been existing
for thousands of years is relatively new. So to have this jurisdiction in place and to have NFTs in place is so, so important for the growth of digital, of the digital economy generally speaking. Now, I think that it's early days now
And that's why I think that the use cases are these things that are very well understood, right? That everyone can understand. Like everyone can see a collectible, whether that be a piece of art or in our case, sort of a 3D model, or the value in community. These things are easily applicable to everyone.
everyone understands those. But that's why Nick describes a Trojan horse entertainment and socialization in community is the Trojan horse for NFTs. That's the base easiest low-hanging fruit for the use case. But if you extrapolate and fast forward, you
done in your question, then you have a world in which NFTs can represent property rates on mortgages. They can represent property rates on all kinds of physical goods. In my past life, we were working on attaching tokens to property
And that was like an initiative that included governments and pretty high up people. Conflict in Eastern Europe has since put a wrench in that. But there are a lot of people thinking about how to apply this technology in a very real and meaningful manner.
And for those who understand sort of like larger economic organization and like how the finance system works, I would argue that a lot of that system is broken and that there are way too many intermediaries sucking fees out of that plumbing. And you could decentralize and have all kinds of owners
rights apply themselves across all these assets in a reliable way that disintermediates people that frankly don't do much to begin with and suck all kinds of fees to the tunes of billions of dollars out of the system. So there's a real world that exists like not too far from where we're
are today, that it has all these things disincommediated and has a really strong use case for the technology. And if you think about, like, you know, there's all kinds of, all kinds of rhetoric around, like, you know, government's not supportive of this and, you know, different
You know, regional sort of players are not or power players are not are frightened of what this means. There's like, you know, there's ways to slow things down, but there's no way to stop things altogether, right? So I think the future holds a lot of disinvention.
for a number of institutions across the globe and NFTs smart contracts and blockchain are at the heart of that. And in some sort of ironic way, I think art, entertainment, gaming, these are the areas of low hanging fruit that will actually introduce this technology to the world.
Thank you Andrew and I'm glad yeah you said that yeah the low-hanging fruit concept I do think NFTs have got a very different future perhaps than what they're mainly used from at the moment but you know only time will take
But yeah, the term blockchain technology I think yeah can be utilized a lot more in our day-to-day lives in the future. But yeah, cab and Andrew, thank you very, very much. Your time has been really, really interesting. And I think that the team that you have a cleanest
So, one of the best out there, friend of tea projects. What you've got your experience, historic days, matches made in heaven, as they say. If you want to stay up to date with cleanersaws, join the community perhaps.
place for them to go. So you've got the Twitter at the top at Clayna source. Is there anywhere else perhaps you'd recommend people to visit? So yeah, definitely follow the Twitter account. There are most important updates come through there. Also Twitter Internet is quite active and
quite hilarious, so it's just great to be part of the entertainment on that front. And then for more pointed information, Discord has a lot of that. And our Discord moderators are super active and super available to answer any questions. There's also an FAQ on there. And lastly,
our website right now does not have that information. We are working on having it there. So keep checking on www.clanasource.com. We'll soon have a website up there that has all of this information on Clanasource and a lot of what we talked about today and what's coming in the future in one concise place.
Fantastic, thank you very, very much. Once again, listeners, obviously, thank you very much for joining us. I hope you've learned a lot because I certainly have indeed, I did quite a little research on clean to talk before this. But yeah, I've had my eyes open. So thank you very, very much, cab and Andrew. I know you're very, very busy people.
Thank you so much for being here. It'd be great to catch up, perhaps a couple of months, six months down the line again. But thank you very, very much for your time. Once again, I hope you have a wonderful rest of your day and listen. It's obviously wonderful rest of your day, rest of your morning as well. Speak very soon and thank you again. Good night. Bye, bye. - Great. Thank you. Have a good#