The English Premier League and fellow plaintiffs, in a copyright infringement lawsuit filed against YouTube in 2007, have given up.
Archive for the ‘File Sharing’ Category
Google Key In Distribution Of Pirated Files As It Deleted 200 Million “Pirate” Search Results in 2013Posted: 2013/11/12 in Google, File Sharing, New Business Models, Illegal File Sharing, Education / Awareness, Tech Evolution, Stats / reports, Enforcement, Online advertising, Copyright
…and still the pirate sites are popping up in their search results…
Trusted global brands Apple and Google have been exposed as making available for download mobile applications that publish pirated content to Internet users in the Ukraine, undermining sustained measures by leading Ukrainian media groups and public sector organisations to eradicate online piracy in the country.
BitTorrent Generates More Data Traffic Than iTunes, Facebook Or Hulu. On Number One Spot For Upstream TrafficPosted: 2013/11/11 in Bandwidth Management, File Sharing, Illegal File Sharing, Education / Awareness, Tech Evolution, Stats / reports
European Parliament Members Explore Decriminalizing File-Sharing (Because Telcos, Hosting Providers And File Hosting Sites Are Da Shizzle In Europe)Posted: 2013/11/09 in The Cloud, File Sharing, New Business Models, Organized Crime, Illegal File Sharing, Legislation, Education / Awareness, Tech Evolution, Stats / reports, Public Policy, Enforcement, Copyright
Daily P2P download demand by BitTorrent users of the Top 100 Pirated Movies of AFM approached 1 Million globallyPosted: 2013/11/04 in Copyright, Education / Awareness, Enforcement, File Sharing, Illegal File Sharing, Stats / reports, Tech Evolution
In the days leading up to the American Film Market (AFM), the download demand on the BitTorrent peer-to-peer (P2P) file sharing network of the Top 100 Pirated Movies approached 1 Million daily, according to a new report issued by CEG TEK International (CEG TEK). The report, Top 100 Pirated Movies of American Film Market (AFM), “provides a glimpse of the impact piracy has on filmmakers, distributors, and the industry as a whole, while also highlighting the overwhelming demand for quality films and story-lines,” commented Co-Founder & COO, Kyle Reed. The films monitored were based on a cross-section of filmmakers and distributors attending AFM this year.
Netflix chief content officer Ted Sarandos: What’s good for the consumer is good for the film and TV industryPosted: 2013/11/04 in Copyright, Education / Awareness, Enforcement, File Sharing, Illegal File Sharing, New Business Models, Stats / reports, Tech Evolution
EasyDNS CEO Mark Jeftovic wonders why registrars take their marching orders directly from the UK PolicePosted: 2013/11/04 in Copyright, Education / Awareness, Enforcement, File Sharing, Illegal File Sharing, New Business Models, Public Policy, Stats / reports, Tech Evolution
The City of London Police crackdown has had minimal impact thus far, as all affected sites we are aware of have continued their operations under new domain names.
The Publisher’s Association says it’s appalling that links to author Eleanor Catton’s Man Booker Prize winning novel The Luminaries have been made available for free download on Kim Dotcom’s file-sharing website Mega.
The novel was discovered yesterday on Mega, a New Zealand registered company.
“Everyone is rightly proud of the achievements of Eleanor Catton on the world stage so to see her work given away without her consent by a fellow Kiwi company is really appalling,” Publishers Association of New Zealand president Sam Elworthy said.
“We should be doing all we can to support the good work of not only these two artists but also every New Zealander who makes an honest living from his or her creative works, Mr Elworthy said.
YouTube is not under an obligation to ensure that the service it provides complies with copyright law. Instead, copyright owners must report infringement to YouTube. So rather than YouTube creating a clever piece of software, or employing a small team of compliance officers, studios and producers all over the world have to duplicate effort and cost to monitor whether their titles are being uploaded. It doesn’t look like this inefficient method of policing copyright is going to change any time soon, but things get really interesting when one looks at the money that is being made from illegal uploads. YouTube may not have a responsibility to ensure that the content it publishes complies with the law, but does that entitle it to derive revenue from illegally uploaded content?
Belgian Government litigates against collecting society SABAM to force it to give up copyright lawsuit against ISPsPosted: 2013/10/31 in Copyright, Education / Awareness, Enforcement, File Sharing, Illegal File Sharing, Litigation, New Business Models, Public Policy, Stats / reports, Tech Evolution
According to Virgin Media the full list of sites to be blocked is as follows.
One of the world’s largest sites dedicated to converting YouTube videos to downloadable MP3s has lost a court battlePosted: 2013/10/24 in Copyright, Education / Awareness, Enforcement, File Sharing, Illegal File Sharing, Jurisprudence, Litigation, New Business Models, Stats / reports, Tech Evolution
Dutch Downloaders, Hosting And Access Providers Rejoice! Home Copying Levy extended to 2016 by Dutch governmentPosted: 2013/10/24 in Copyright, Education / Awareness, File Sharing, Illegal File Sharing, Legislation, Public Policy, Stats / reports
This discussion is often connected with the policy discussion in the Netherlands on the introduction of a ban on downloading from illegal sources. To date, the distribution of pirated works is illegal, but consumers that access illegal platforms to download pirated content are not breaking the Dutch law.
Richard Hooper: “Most of the problems can be solved if the creative industries get off their backsides and streamline copyright licensing”Posted: 2013/10/20 in Copyright, Education / Awareness, File Sharing, Illegal File Sharing, New Business Models, Stats / reports, Tech Evolution
Hooper talked about some of the conversations he’s been having with the creative industries. For example educational licensing: the average teacher has to deal with 14 different types of copyright from 12 different copyright licensing organisations. “That’s an organisational issue,” said Hooper. “It’s pretty ridiculous that people trying to run schools and colleges should have that level of complexity in the number of organisations they have to deal with.”
He said that situation has improved considerably since the report was published. Another example of process-based change: the way the creative industry’s data wasn’t fit for its modern purpose. “Your data might have been okay for the analogue age, but it is absolutely not okay for the requirements of the digital age,” he said. Including “little matters” like identifiers – the ability to identify uniquely a copyrighted work, its creators and the rights associated to that work. Here too, work is going on around standards: identifiers, a common language and message standards.
Hooper moved on to the Copyright Hub, noting that most markets look like a pyramid: a small number of large payers up top, and a large number of small payers at the bottom. “The Copyright Hub has no interest at all at the top end. Universal doing its deal with Spotify, the BBC and PRS doing their deal, the PRS doing their deal with YouTube: that’s at the top of the market, and is not our concern,” he said.
Instead, it’s the high volume of relatively low-value monetary transactions at the lower end of the market that concerns the Copyright Hub, from startups to individual creators. “It is about licensing, but it’s licensing at the bottom end or the middle of the market. That does not mean to say that large organisations won’t use it,” he said.
What progress has it made? It has a website that launched in July, with three main sections: Find Out covers copyright education, helping people find their way through the complexities of copyright. Second: Protect Your Work, aimed at creators looking to understand how to register their works. And third – “the heart of the hub” – is Get Permission.
“The issue there is how do you automate licensing so that you can bring the transaction cost down,” he said. An example: a classical music publisher who gets telephoned by someone looking to have a concert featuring the music of one of their composers, record it for a DVD and CD, and have some of the music go on the local newspaper’s website to advertise the concert. Not easy or cheap from a licensing perspective.
“Those are the sorts of challenges that the Hub is trying to get to grips with,” said Hooper. The second phase of the Hub is already underway: search, the ability to enter a question about licensing, and get answers from the websites connected with the Hub. A challenge, given that many of these copyright information sites are geared up for human queries, not those of machines.
“What we’re after, make no bones about it, is machine-to-machine. APIs and all that are required,” he said. “Clearly, you want the machine to go away, ask the question and come back with an answer.”
Hooper was asked if the market is all about the ‘top of the tail’ – the big deals between labels and streaming services for example. But he disagreed, citing a conversation with a senior record label exec during the research process for the report.
“He said ‘we have 14 or 15 people a week ringing us up to put music in their wedding videos’,” said Hooper. “What is happening at the moment is that they’re either not using music on their wedding video, or more likely they’re using it and infringing copyright. That is our target.”
“The most popular sites are torrent sites, which are typically funded through advertising, and they do very well. There was some discovery from the Pirate Bay case with one email showing they were being offered £60,000 by a gambling site to put ads on the Pirate Bay.”