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Piracy ravages Spain – Entertainment News, International Top Story, Media – Variety

Online piracy cost the Spanish media biz an estimated E5 million ($6.3 billion) in the second half of 2009, according to a new study.

The study, carried out by IDC Research Iberia, the Spanish arm of U.S. consultancy IDC, covered the piracy of music, movies, vidgames and books.

It was commissioned by Spain’s Coalition of Creators and Content Industries, an umbrella lobby for most of the country’s film and TV trade associations.

Polling 5,911 Spaniards, the report found that piracy accounted for 83.7% of all online movie consumption and 95.6% of that for music.

IDC reported that 58.4% of Spanish users would pay for music and 54.8% for movies.

Media Hungary is the annual meeting place for media professionals in the Hungarian market. I was invited to participate in a panel on content piracy.

″Leveszem, lelopom, leadom…″

A különböző hírportálok miként veszik igénybe mások eredetileg készített tartalmait, cikkeit.  Szabad? Nem szabad? A tartalom tulajdonos jogai? A tartalomtulajdonos köteles tűrése. Milyen feltételekkel vehetjük le, és publikálhatjuk mások anyagát saját oldalunkon? Milyen kötelezettséggel jár ha valaki anyagát (cikkét) átveszem? Hogyan léphetek fel az ellen, hogy anyagomat ne publikálják máshol…A digitális világ szerzői jogi fóruma.

Résztvevő: Balogh Ákos Gergely (, Bodó Balázs, Papp Gábor (Ringier)

Technology |

I’m not suggesting that the only way the electronic book industry can succeed is by promoting piracy. But without it, there’s no whip to crack. There’s no easy cause and effect to startle the publishers out of their leather armchairs and into action.

I suspect that the real change will come as more authors who are already part of the digital age push for new things. But that’s a generational shift, and we’re still a long way from it.

It’s not that I don’t believe electronic books can’t be a success – just that without an outside factor that can push things faster than the industry is comfortable with, progress is always going to be very, very slow.


So while Zuckerberg was announcing Facebook’s ambitious plans, Dixon and some like-minded programmers were cooking up their own launch: an open-source standard for recommendations called Open Like. The idea behind the project, which is still in its embryonic stages, is that websites and services would be able to federate recommendations or “likes” by adopting a uniform standard for the data. In the same way that OAuth (which Facebook is now supporting) is an open standard for sharing user information, and OpenID is an open standard for logging into websites and services, Open Like would allow anyone who adopts the standard to make use of recommendation data.

“I feel like everyone is falling asleep while Facebook and Twitter are taking over,” Dixon said in a phone interview. “I love Facebook and Twitter — I think I’m even an investor in Twitter through some venture funds I’m a shareholder in — but I just think it’s a bad thing for the web. What if HTTP or SMTP were owned by one company?” What Facebook is trying to do with its open graph protocol might be good for Facebook, the Hunch co-founder says, but that doesn’t mean it’s good for anyone else. “They’re acting in their economic interests — there’s nothing evil about it,” he says. “But people who think that it’s some kind of move towards being open are just naive.”

Music Ally | Blog Archive

Brindley from Music Ally now (I feel like Paxman on University Challenge). He talks about where should the crackdown on piracy come – suing your own consumers hasn’t worked in markets like the US. “When you start taking action against them, that tends to lead to some pretty bad PR,” he says. And he points out that taking action against the file-sharing sites hasn’t worked well either. Yet pressuring the intermediary – ISPs – is dangerous. “When you start playing around with people’s connections… that’s a pretty severe intervention.” He thinks that actually cutting people off from accessing the internet in their own homes – “when that’s going to become just like electricity, water – a basic human right… I’m not sure it’s worth that battle

ez egy magyar nyelvű szöveg

and this is in english

Electronic Frontier Foundation

According to The Hollywood Reporter, a group known as the “U.S. Copyright Group” has quietly targeted 20,000 Bit Torrent users for legal action in federal court in Washington, DC. The targets are accused of having downloaded independent films, including “Steam Experiment,” “Far Cry,” “Uncross the Stars,” “Gray Man” and “Call of the Wild 3D,” without authorization. The group plans to target 30,000 more individuals for legal action in the coming months.

This time, the lawyers involved are being explicit about their motivations: it’s all about the money. “We’re creating a revenue stream and monetizing the equivalent of an alternative distribution channel,” said one of the attorneys involved. The cases are taken on a contingency basis, designed so that quick settlements will prove lucrative for both the firm and the copyright owners involved.

Adobe Labs – Stratus

dobe® Stratus 2 enables peer assisted networking using the Real Time Media Flow Protocol (RTMFP) within the Adobe Flash® Platform. RTMFP is the evolution of media delivery and real time communication over the Internet enabling peers on the network to assist in delivery. Stratus was first introduced in 2008 as a rendezvous-only service that allowed clients to send data from client to client without passing through a server. Adobe Flash Player 10, which debuted peer assisted networking, has been adopted today by over 90% of all internet connected PCs.

The Technium: How to Thrive Among Pirates

What do these gray zones have to teach us? I think the emerging pattern is clear. If you are a producer of films in the future you will:

1) Price your copies near the cost of pirated copies. Maybe 99 cents, like iTunes. Even decent pirated copies are not free; there is some cost to maintain integrity, authenticity, or accessibility to the work.

2) Milk the uncopyable experience of a theater for all that it is worth, using the ubiquitous cheap copies as advertising. In the west, where air-conditioning is not enough to bring people to the theater, Hollywood will turn to convincing 3D projection, state-of-the-art sound, and other immersive sensations as the reward for paying. Theaters become hi-tech showcases always trying to stay one step ahead of ambitious homeowners in offering ultimate viewing experiences, and in turn manufacturing films to be primarily viewed this way.

3) Films, even fine-art films, will migrate to channels were these films are viewed with advertisements and commercials. Like the infinite channels promised for cable TV, the internet is already delivering ad-supported free copies of films.

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