Trusted data layer

The set of numbers an industry can argue policy from because nobody disputes where they came from: what was produced, what it earned, who worked on it, what they were paid, how many people watched. A data layer becomes trusted when enough of the industry registers itself in it that opting out costs more than joining.

Two precedents sit at different scales. Korea’s national ticketing system reports box office in real time and is mandatory, which is why Korean film policy fights are about what to do rather than about whose figure is correct. Screen Ireland committed to a self-registering, searchable crew and services database, which needed no statute at all. The second version is the one available to a platform, because it runs on network density rather than on power.

The Philippine case for building one is unusually concrete. There is no accessible authoritative public series for films produced per year, screens by chain and region, admissions, or day rates by department, and there is already a law promising creative workers credit priority from government financial institutions. No lender can act on that promise without verifiable production history, payment history and audience data, which is a platform problem rather than a ministry problem.

Source: Course-coined for this build, from Part 5, point 3, of the Hope research map and point 7 of the cross-case synthesis in the Film industry playbooks. The Korean instance is KOBIS, the integrated real-time national ticketing system described in Instrument G of the Korea case. The Irish instance is Screen Ireland’s 2022 crew and services database commitment. The Philippine absence is problem 10 in section 11 of the Cinema research map, and the credit priority clause is in RA 11904, https://lawphil.net/statutes/repacts/ra2022/ra_11904_2022.html .

First used in: 4.5 · What a community can do