halluceon

1. mint a theater nft

First, a filmmaker mints a Theater NFT admin token for a 0.0025 ETH fee (~$5). Four things are set permenently at creation and stored in the token metadata:

• Theater Name & Detailspermanent — usually the title of the film or series.
• Theater Sizepermanent— how many Ticket NFTs the theater sells, split into 5 groups each with their own price curve and 'hal' token multiplier.
• ERC20 'HAL' Token Tickerpermanent— the theater's ERC-20 revenue-share token is named: 1-10 custom characters + HAL. Ticket NFT minters recieve a bag of this token based on a formula we will discuss below.
• (Optional) Publisher Distribution Splitpermanent — the filmmaker has the option to allocate a portion of his 50% ERC20 token share to partners — financiers, co-writers, etc.

2. ticket nft minters also receive $hal tokens

As you see when you hover on the price curve above, when someone mints a Ticket NFT, they also receive a bag of HAL TOKENS, specific to that theater. How many depends on three things: number of Ticket NFTs minted, which Group # they fall in, and how early within that Group (which decile) they were minted:

HAL per txn = # of tickets minted x group multiplier × decile multiplier

Each Group carries a fixed multiplier — earlier Groups carry a higher one — and within a Group the per-ticket reward steps down by decile: ×10 for the first tenth of Tickets, down to ×1 for the last tenth. Multiply the two and you get the HAL a single Ticket mints (the grid's rows are the Group multipliers, its columns the deciles):

So, concretely:

This formula incentivizes early participation: the earlier you buy a Ticket NFT, the cheaper the mint fee and the more HAL you receive. That asymmetry is the whole point.

3. ticket groups close, holders earn

When Group 1 sells out (20,000 Tickets), the fees it collected are snapshotted and become claimable by every HAL holder, pro-rata to their balance. Because the publisher holds a 50% pre-allocation of the HAL token, the split lands at roughly 50% to the audience and 50% to the publisher.

Then Group 2 opens — same mechanics, a new price curve, and a lower multiplier (×4.4), so each Ticket now mints less HAL than a Group 1 Ticket did. When Group 2 sells out (70,000 sold cumulatively), its fees are snapshotted and distributed again — and the Group 1 minters, who still hold their HAL, can claim for a second time.

They keep earning from every Group that closes after them, for as long as they hold their tokens. That compounding — earlier buyers minting more HAL and collecting from more closes — is why the earliest supporters come out so far ahead.

the upside, in numbers

Across a theater's full life, a Group 1 ticket earns roughly 22× what a Group 5 ticket earns— even though Group 5 has the biggest absolute pool. The seniority weighting divides the early pools across far fewer tickets. Here's the per-ticket lifetime payout to the audience, by the Group a Ticket was bought in (toggle a size — the per-ticket return is identical at every scale):

Scaled up to a Large theater sold out across all five Groups, lifetime ticket revenue comes to roughly $64.8M — about $32.4M to the audience (split by HAL holdings, asymmetrically rewarding the earliest) and a matching $32.4M to the publisher, whose 50% pre-allocation is locked at mint and never dilutes.

claiming your fees

HAL token holders claim their fees whenever they like — there's no expiry on an unclaimed pool. As a convenience, bots can claim on a holder's behalf in exchange for a small bounty (1-5%)A proxy-claim bounty paid out of the claimed amount to whoever submits the claim transaction for someone else. Configurable by the contract owner up to a 5% cap; self-claims pay no bounty.. Halluceon runs a bot that sweeps pools left unclaimed for about a week, so even dormant holders get paid.

If a theater's Ticket sales stall mid-Group, the publisher can force a disbursement — snapshotting the fees collected so far to HAL holders without waiting for the Group to sell out.

4. watching films

You can buy a ticket and hold it indefinitely — there's no shelf-expiry. The moment you activate the ticket on-chain, a 12-hour watch window starts. Within that window, you can watch any gated film in that theater. After it expires, the ticket is spent, and you hold onto it as a keepsake stub.

Films are served from private storage behind a signed-URL access control. The frontend asks the connected wallet to sign a short message proving you control the address; the server verifies on chain that you have an activated ticket; only then does it mint a 30-minute presigned URL pointing at the actual video. Every gate is enforced against chain state, not against any database we control. Publishers can also mark films as preview-free so anyone can watch without a ticket — useful for trailers and promotional clips.

what we don't pretend

• Liquidity for HAL tokens won't exist unless someone seeds it. early holders should expect to claim ETH revenue from group closes, not flip tokens for instant exits. these aren't memecoins.
• Curatorial brand: We're not promising the films will be good; we're promising the protocol will pay everyone fairly when they are.
• Fee permanence: the claim fee is currently 0%, configurable up to 5% by the contract owner.
• Smart-contract security: the contracts are reviewed by Claude Fable, but not yet officially audited.

why “halluceon”

Hollywood works at industrial scale and squeezes filmmakers at every step. Halluceon is the opposite — small theaters, small audiences, generous compounding for the people who care enough to show up. The snail in the logo is a wink at the speed at which independent cinema actually moves: slow, deliberate, and rewarding patience. It also kinda looks like the quadratic bonding curve and pool of funds.

if that sounds like something you'd want to be part of, mint a theater, add a film, send your audience the link.