Raise your hand if you’re tired of EFF tech-funded talking points

Raise your hand if you’re tired of EFF tech-funded talking points

[vc_row][vc_column width=”1/1″][vc_column_text]EFF is tech-funded [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Creative artists who speak out to defend their work from online poachers have long been the target of the Electronic Frontier Foundation (EFF), a Google-funded tech-centric organization that ostensibly “champions user privacy, free expression, and innovation.”  Many creators first become familiar with the EFF when sending takedown notices to Google for copyright infringement on its various products (YouTube, Blogger, search, etc.) and receive warnings that the DMCA notice (listing the infringing link) will be sent to the EFF’s public Chilling Effects database.    The purported goal of the database is to provide a clearinghouse to study “the prevalence of legal threats and allow Internet users to see the source of content removals.”  Unfortunately, its real mission seems to be to further intimidate rights holders who try to protect their work from online infringement.   The database has, in fact, become a handy source of links to pirated content. Given its history as a tech cheerleader, it’s no surprise that the EFF is at it again, this time drafting a letter to officials who are negotiating the “intermediary liability” language for  Trans-Pacific Partnership (TPP) free trade agreement.   According to the U.S. Trade Representative’s website:

TPP will provide new market access for Made-in-America goods and services, strong and enforceable labor standards and environmental commitments, groundbreaking new rules on state-owned enterprises, a robust and balanced intellectual property rights framework, and a thriving digital economy.

While there are legitimate concerns about transparency with the negotiating process, transparency is a double-edge sword.  Perhaps the EFF should take a dose of its own medicine. The language contained in EFF’s letter once again establishes criterion where the rights of content creators should be considered secondary to those of “innovators” (a.k.a. tech interests).  It paints a predictable–but false–scenario where rights holders are running amok by flooding poor service providers with unsubstantiated takedown notices.

We are worried about language that would force service providers throughout the region to monitor and police their users actions on the internet pass on automated takedown notices, block websites and disconnect Internet users.

It’s the old canard whereby web users’ right to steal copyrighted content trumps the creator’s right to remove it.  The reason we have “automated takedown” processes in the first place is the amount of theft is so massive, that for many rights holders, it’s the only way to make a dent in the un-checked online copyright infringement that’s been unleashed in the name of “innovation.” Google has to deal with millions of takedowns because it enables (and profits from) millions of infringements. Even Google admits that the number of erroneous takedowns is minute (3%) compared to the number of valid ones (97%). The EFF asks for “flexibility” for nations to “establish takedown systems.”  It’s a malleable term one could drive a truck through that would unquestionably undermine the entire point of writing IP protections into the agreement in the first place.  Of course that’s precisely why the EFF and its shadow kingpins are pushing it. The fact is that there’s no such thing as borders in today’s digital world and treaties such as the TPP may be the only way to forge a path forward where IP can be protected in a meaningful, global way and nurture creative business in developing countries. Indeed, to gut IP protections by allowing nations “flexibility” would lead us back full circle to our current morass–a patchwork of enforcement that undermines any meaningful protection for creators rights around the globe. As Peter S. Mennell, noted law professor and co-director of U.C. Berkeley’s Center for Law & Technology wrote in a paper published this past April, This American Copyright Life: Reflections on Re-equilibrating Copyright for the Internet Age:

U.S. treaty and trade negotiators should celebrate and nurture Bollywood, Nollywood, and other creative communities as a primary focus for achieving global copyright protection. The U.S. should not be seen as an IP bully on the international stage but rather as a genuine partner willing to lend a hand up to nations willing to support their creative industries. Such a policy has the added bonus of promoting free expression and democratic ideals.

The EFF, and those drafting this trade agreement, should be mindful of what defines “democratic ideals” and acknowledge that creators worldwide “are worried,” and rightfully so, about an unbalanced online eco-system whereby the rights of certain users and business interests routinely trump the rights of artists. The letter raises EFF questions whether the TPP is “pushing proposals that that would truly enable new businesses to flourish in our countries in the decades to come.”   For accuracy’s sake, perhaps the EFF should just be clear about their goals (and those of the  tech companies that send millions their way) and clearly ask the TPP to bow to pressure and push proposals that would “truly enable” copyright infringement to “flourish” un-checked in the decades to come. After all, companies like Google traffic in content and the fewer obstacles to using and disseminating said content, the more profits for them.   If you look at the list of signatories on the letter is a predictable (tech) bunch and attached to the document is the EFF’s own screed on “Abuse of the Copyright Takedown System.” As part of its advocacy efforts, the EFF routinely muddies the waters and conflates valid concerns over online privacy and free speech rights with copyright holders’ efforts to protect their work from infringement.  Protecting rights within all three realms is important and doing so effectively, despite EFF rhetoric to the contrary, need not be a mutually exclusive process. The EFF approach to protecting “rights” in the digital age has always has been disingenuous.  Gin up hysteria in order to push an anti-copyright agenda–an agenda, covertly built on the interests of the tech industry and NOT the community at large.   For the record, protecting copyright is defending free speech.  The EFF’s letter to TPP negotiators is just one more link in its (tech-funded) chain of lies.[/vc_column_text][/vc_column][/vc_row]

Indie Filmmakers Confront Online Piracy’s Impact on Distribution

Indie Filmmakers Confront Online Piracy’s Impact on Distribution

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The movie Lyle is being streamed online for free

This week I’ve come across two pieces written by indie filmmakers that discuss distribution options in the age online piracy.  While it’s good to see the issue being addressed, the dichotomy between the two reveals that differences remain developing distribution models in an age where revenue streams are undermined by online profiteers.

The first piece published on filmmakermagazine.com by Stewart Thorndike and Alex Scharfman, “Why We Are Giving Our Feature Away for Free at LYLEmovie.com,” presents the filmmakers’ plan to give the movie away for “free” in order to engender good will and drive donations for their next project in a planned horror trilogy:

We wanted to stick with the idea that got us to Lyle: the desire to control our film’s destiny and not wait for permission.

It is in that spirit that we’re giving Lyle away for free at LYLEmovie.com. Sure, we could send the film out on the festival circuit and hope for a more traditional distribution offer, but that would take months or even years.

While the goal to “control the destiny” of one’s film is a laudable one, it’s also not one that will work for every indie film.

In this case, the filmmakers see giving their film away as smart marketing explaining, “By giving Lyle away, we’re inviting that audience to come find us and help us make more movies for them.” It’s a laudable plan and I wish them well in their efforts.  After all, how one distributes one’s film should be a matter of personal choice.  However, in explaining their approach they seem to view the digital world through slightly rose colored glasses:

The music industry, whose models seem to be a few years ahead of film, has already seen artists like Radiohead make their work available in exchange for whatever a fan wants to give. In the comedy world, Louis CK had enormous success when offering a pay-what-you-want (with a $5 minimum) deal on his standup special in 2011. In our case, we’re inviting Lyle’s viewers to donate what they want to our next film, Putney. Through this model, we hope to disrupt the traditional financing and distribution paradigms by tying the distribution of one project to the financing of another, democratizing both to create an audience and a brand on which we will build with Putney.

To point to the pay-what-you-like (one-time) distribution efforts used by Radiohead and Louis CK as a workable model for distributing small indie films, while sincere, seems a tad simplistic. After all, even Radiohead referred to the stunt as a “one off.”

Many music fans had hoped that the band’s now famous pay-what-you-want promotion was an attempt by the group to discover a new way to sell music. Now it appears Radiohead at best was after publicity.

While giving their film away for free to finance a second low-budget film might be the right choice for them,  it certainly won’t “disrupt the traditional financing and distribution paradigms.”  Those paradigms have already been radically disrupted by online piracy and, despite good intentions, not every feature film can be made via crowd-funded  micro-budgets.

The latter point is one that filmmaker Zak Forsman raises in “I Made a Movie Worth Stealing: My Experience with Piracy,”  posted this week on filmschoolrejects.com.  Forsman recounted his experience with online piracy following the release of his feature, Down and Dangerous:

The movie has been uploaded in its entirety to YouTube about a dozen times now. Most recently, I issued a takedown for a Vietnamese-subtitled version.

As I filed that first copyright violation and takedown request, I wondered, “Is this going to be part of making movies now? Chasing down pirated copies and jumping through hoops to get them removed?”

Forsman notes there may be a difference between micro-budget productions and indie films with bigger budgets:

…if I were releasing the movie myself, directly to fans, I’d be happy to see people steal it and share it. Truly. Working in microbudgets affords me the opportunity to be a bit of a gambler when it comes to raising a movie’s profile. But in this case, I had a responsibility to protect the movie’s potential sales on behalf of our distributors.

Forsman also attempts to quantify the actual toll piracy took on his film’s revenue making a conservative estimate that if 10% of 10,000 illegal downloads were converted into legit sales it would add an additional $7,000 to their gross.  As he points out, it’s not an insignificant figure for a film that cost $38,000.  Having experienced the reality of online piracy firsthand, he also outlines steps filmmakers can take to prepare.

In contrast, the Lyle filmmakers have made the choice to attempt to sidestep piracy entirely by giving the film away. As writer/director Thorndike noted in an interview with tribecafilm.com” Instead of paying to see the movie, you pay, if you liked the movie, to see the next movie get made.” It will be interesting to see how this approach plays out, but given the fact that online pirates don’t give a darn where they steal films from, the movie will most likely still be pirated.   Within days the (free) streamed film will be stolen from the filmmaker’s own website and pirated elsewhere, reducing visitors to their own Kickstarter campaign.  Meanwhile, per usual, online pirates will be generating income off the stolen movie via their own sites.

Given the low amount of funding sought ($35,000), in this instance the piracy is unlikely to prevent a successful fundraising campaign, but moving forward, will these filmmakers want to limit themselves to only produce micro-budget films?  At some point those who work on these films will want to make a living doing so.  Does this approach really sustain a robust indie filmmaking culture? Is this really the “paradigm” filmmakers want for their future?

In any case it’s good to see indie filmmakers acknowledge online piracy’s impact on distribution and engage in discussions about ways to dull the damage.  Here’s hoping we can learn from their experiences and see more films from them in the future.

London Police fight pirates on their own turf

London Police fight pirates on their own turf

[vc_row][vc_column][vc_column_text]City of London Police anti-piracy campaign

London Police turn tables on web pirates

In a nice twist of karma, the London Police have stepped up their battle against online piracy sites, fighting fire with fire, by placing banner ads on pirate sites warning users to stay away.  Since advertising revenue drives the engine of online piracy this latest initiative by the City of London Police Intellectual Property Crime Unit (PIPCU) as part of their “Operation Creative” anti-piracy campaign is more than a little ironic.

…police banners are now replacing a wide range of legitimate brand adverts on infringing websites. The pop-up will inform the user that the website is under investigation by the City of London Police unit for copyright infringement and will advise the user to exit the website.

Launched this past March, the goal of Operation Creative is to “disrupt and prevent websites from providing unauthorised access to copyrighted content, in partnership with the creative and advertising industries.”

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London police are placing banner ads like this on known pirate websites to warn visitors that the site is not legit and is offering up illegal files

This latest anti-piracy gambit comes on the heals of PIPCU’s shutdown of a number of infringing websites. The PIPCU’s Andy Fyfe explained this latest initiative to insert police warnings into banner ads on pirate sites:

This new initiative is another step forward for the unit in tackling IP crime and disrupting criminal profits. Copyright infringing websites are making huge sums of money though advert placement, therefore disrupting advertising on these sites is crucial and this is why it is an integral part of Operation Creative. 

This work also helps us to protect consumers. When adverts from well known brands appear on illegal websites, they lend them a look of legitimacy and inadvertently fool consumers into thinking the site is authentic.

Operation Creative specifically targets the scourge that is ad sponsored piracy:   

The Police Intellectual Property Crime Unit (PIPCU) based in the City of London Police has today called upon advertisers and brand holders to continue to support its work to tackle Intellectual Property crime following the launch of its Infringing Website List (IWL). The IWL, the first of its kind to be developed, sets out to disrupt the advertising revenues on illegal websites globally.

This unique initiative forms part of the unit’s ground-breaking Operation Creative, designed to disrupt and prevent websites from providing unauthorised access to copyrighted content, in partnership with the creative and advertising industries. The IWL is an online portal providing the digital advertising sector with an up-to-date list of copyright infringing sites, identified by the creative industries and evidenced and verified by the City of London Police unit, so that advertisers, agencies and other intermediaries can cease advert placement on these illegal websites.

Disrupting advertising is a vital part of Operation Creative, as advertising is a key generator of criminal profits for websites providing access to infringing content. A recent report by the Digital Citizens Alliance estimated that in 2013 piracy websites generated $227million from advertising.

Kudos to the London Police for their ongoing efforts to fight online piracy.  Hopefully it’s an effort that will serve as a model for other law enforcement agencies to do the same.[/vc_column_text][/vc_column][/vc_row]

When film “fans” cannibalize their own…

When film “fans” cannibalize their own…

blog-piracyLGBT pirate blogs that claim to love the films and shows that reflect their lives, yet undermine creators ability to make more

It’s bad enough seeing indie LGBT films pirated via torrent sites like Pirate Bay and cyberlockers like Mega, but it’s particularly galling to see supposed fans of LGBT films operating websites that think nothing of undermining filmmakers from their own community. Time after time fans of LGBT films ask why more films reflecting their lives aren’t made, yet many of those same fans think nothing of pirating the LGBT films that are made effectively cannibalizing their own filmmakers.

LGBT films are usually made outside the Hollywood system and depend entirely on grassroots funding efforts to cover production costs.  When these films are pirated, recouping expenses is made more difficult and threatens the filmmaker’s ability to create more films.

Much is made about the democratization of filmmaking through increasingly affordable technology.  Yet no matter whether a film is shot on 35 mm or digital, it still costs money to create.   Money–to pay for cast and crew, equipment and permits, insurance and meals–does not fall from the heavens.   There’s also the cost of pre-production: planning, script development and completion, casting, location scouting, scheduling, hiring a crew, etc.  After the film is shot, taking weeks or months, there are post-production costs to consider.  These include editing, sound-mixing, music, special FX, color-correction and mastering.  This entire process takes time and money.  People who create indie films aren’t in it to get rich.   They are driven by a passion to create and give voice to untold stories but it doesn’t come free.  There are debts to be paid.

Unfortunately, this disconnect between those who create and those who consume threatens to gradually the diversity of voices (and choices) available.  Fans may not miss what’s not made until it’s too late…As they say, actions speak louder than words.  You can’t claim to support LGBT indie film yet download or stream illegal copies of those same films.  However, as I surf the web and explore the many blogs dedicated to LGBT film, too often I find this hypocrisy in full bloom

The blog “Popcorn ‘N Tits” is part of the PNT Tv Network, “a femqueer entertainment website where you can find webseries, movies, music and literary articles that reflect our lives.” It’s beyond ironic, and rather sad that operators choose to exploit the very content they claim to love.  Ironically one of their partner blogs features this plea, 

This blog is dedicated to support the art of filmmaking.  You love watching our movies, shorts, and web-series but filmmakers need money to make that happen.  You can do this by donating to these projects, no matter how small the sum.

So true, yet this same blog network apparently doesn’t see the disconnect when it includes a site that apparently pirates movies and tv shows at will (see graphics below).  Note this is only one example of many I’ve found during my web wanderings.

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One small victory against Google Blogspot movie piracy, yet many more battles remain

One small victory against Google Blogspot movie piracy, yet many more battles remain

victory-against-Blogspot-pirateFinally, after weeks–actually months–of repeatedly reporting (and waiting) the pirate movie website videolez.blogspot.com,  a site featuring more than 100 pirated movies streamed via Google Drive-hosted embeds of stolen movies), finally bit the dust.

voxindieblogger_dmca_circus1Why after all this time and repeated violations did Google finally remove this site?

I think what finally turned a lightbulb on in the Google Team’s HQ was my response to a lame email they sent me as follow up to DMCA notices I’d issued (on behalf of myself and film distributors/producers I do anti-piracy work for).  This is the email the Google Team sent to me in response to one (of many) DMCA notices sent via their online form:

Hello,

Thanks for reaching out to us.
With regard to the following URLs:http://video.google.com/ThumbnailServer2?app=blogger&contentid=203c30c4ab876b5d&offsetms=5000&itag=w160&sigh=CMMGsL_L7KLW3DTX4DFofZnJ5cY
In order for us to investigate the appropriate content and take further action, please provide us with the specific URLs of the posts where the infringing content is located.

 

You can obtain the post URL by clicking on the title of the post or the timestamp found at the bottom of the allegedly infringing post(s).

 

Regards,
The Google Team

The reason the Google Team’s email was ridiculous was because it was WRONG.  It’s painfully clear that those employed by Google to respond to DMCA notices don’t truly understand their own products and just how pirates use them.  This was my response:

Hello,
Actually we cannot determine the URL by clicking as you suggest….this requires going into the actual source code for an embedded stream.

 

I’ve attached a PDF highlighting the issue with one of the films we reported.  The URLS are not easily available.  Right click on the video embed and get “report abuse” and you are taken to Google web takedown form with NO information about the offending URL.

 

Please review the attached PDF and explain exactly how one can determine the correct URL to report on this page: http://videolez.blogspot.com.br/2013/04/atcl1123894.html or this page: http://videolez.blogspot.com.br/2012/07/eu575539.html or this page: http://videolez.blogspot.com.br/2013/03/km1859522.html

 

PS-There are many more pages…in fact this entire blog is dedicated to pirating indie films and Google does zilch!
Here’s the PDF I attached with my email sent to the Team in an effort to explain  just what was going on with this particular Blospot.com pirate.  Below are the graphics included in the PDF.  They demonstrates, step-by-step, how Google could (and should) better understand its own products and respond appropriately upon receipt of DMCA notices rather than send out erroneous emails asking for more information; information that’s actually neither available nor relevant.
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Unfortunately, this small victory is but a blip in the sea of Google-sponsored pirate sites. Moments after I discovered the VideoLez site had been removed, I checked another, similar pirate site that I’ve also reported multiple times. It remains alive and well.  The countdown clock can be seen here.  

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I’ve asked it before, but I’ll ask it again.  Why can’t Google clean up its act?  Does it really deserve protection from liability under the DMCA “safe harbor” provision if it routinely fails to remove content and sites, despite repeated (and clear) requests?  Title 17 › Chapter 5 › § 512 states outlines one aspect of Safe Harbor as follows:

(c) Information Residing on Systems or Networks At Direction of Users.—

(1) In general.— A service provider shall not be liable for monetary relief, or, except as provided in subsection (j), for injunctive or other equitable relief, for infringement of copyright by reason of the storage at the direction of a user of material that resides on a system or network controlled or operated by or for the service provider, if the service provider—

(A)

(i) does not have actual knowledge that the material or an activity using the material on the system or network is infringing;
(ii) in the absence of such actual knowledge, is not aware of facts or circumstances from which infringing activity is apparent; or
(iii) upon obtaining such knowledge or awareness, acts expeditiously to remove, or disable access to, the material;
(B) does not receive a financial benefit directly attributable to the infringing activity, in a case in which the service provider has the right and ability to control such activity; and
(C) upon notification of claimed infringement as described in paragraph (3), responds expeditiously to remove, or disable access to, the material that is claimed to be infringing or to be the subject of infringing activity. [underline added]

 

6 Easy Steps the Google Team could take to fix their DMCA takedown process

To allow Google’s web crawlers to find read my list of suggestions 😉 here it is again in text form:
  1. Companies (like Google) that host websites where user-generated content is uploaded should create templates that include easy-to-find, direct buttons/links to site-specific (i.e. Blogger) DMCA takedown forms/contacts.

  2. URL of infringing content (page) or (embedded) video stream should be obvious and easy-to-find.

  3. Most efficient way to accomplish would be for “report abuse” button in page template and/or embed window to link users directly to web form with requisite URL pre-filled.

  4. If content is found to be infringing, removal should be done in a timely manner and reporting party notified via email that appropriate action has been taken. 

  5. If content is found to be infringing, removal should be done in a timely manner and reporting party notified via email that appropriate action has been taken. 

  6. Users (sites) that repeatedly violate copyright should be removed.

Next “expeditious” move is Google’s…I’ll be waiting.

Pirate Website’s Own Poll Shows Nearly 30% Used Google to Find Their Way to Pirated Movies Online

Pirate Website’s Own Poll Shows Nearly 30% Used Google to Find Their Way to Pirated Movies Online

google-sign-post-piracyGoogle comes in a close second to word-of-mouth in path to piracy poll

A while back one of the world’s most popular pirate websites, LetMeWatchThis went through tumultuous times as its domain name was hijacked and cloned by other not-so-nice pirates.  According to torrentfreak.com the hijacking, and general confusion led to the domain switching to an entirely new domain, primewire.ag:

One of the largest unauthorized streaming movie websites on the Internet is at the center of what is probably the most confusing mess ever to hit the sector. Various hackings, hijackings, domain changes and nefarious happenings have turned 1Channel, LetMeWatchThis, PrimeWire.ag and Vodly.to into a maze of smoke and mirrors through which no regular user has a hope of navigating.

While it’s not clear if the dust as settled, what is clear is that someone operating the domain name primewire.ag is running a website full of illegal links to thousands of stolen movies.  The pirate site, as mentioned in my earlier post today, makes money via advertising (mostly major American brands) but as I was researching the site for my post, I  noticed another feature worth highlighting. In its sidebar, the website has posted a poll asking this question:  How did you find us through our new name?  

According to the results users turned, in large numbers,  to that tried and true source for pirated content worldwide, Google search.  Nearly 200,000 (29.88 %) users chose Google as their path to the site, second only to word of mouth which took top honors at 43%.  While the poll is not scientific, it does provide more anecdotal evidence to what most believe to be true, Google is a major sign post on the path to online piracy.  Even when pirate sites run into trouble with other pirates hacking and stealing their domains (ironic isn’t it), leave it to Google to come to the rescue.

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