If you were following our tweets yesterday (and don't forget to follow the tweets of our collective staff, found on this twitter list, too), you may have seen an update that PK Legal Director Harold Feld participated in a discussion about set top boxes, over-the-top Internet video, cutting the cord, and net neutrality on the Kojo Nnamdi Show. If you missed the live show, you can read the transcripts and listen to the recorded audio stream here.
Analog Hole
PK In The Know Podcast: DVD Ripping, Boxee, Spectrum, and the Open Design Engine
February 10, 2012
On today's podcast we discuss efforts to make DVD ripping legal, allow Boxee to access cable subscriptions, and a horrible spectrum bill. We also chat with J. Simmons of Mach 30 about building the Open Design Engine.
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On today's podcast we discuss efforts to make DVD ripping legal, allow Boxee to access cable subscriptions, and a horrible spectrum bill. We also chat with J. Simmons of Mach 30 about building the Open Design Engine.
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August 20, 2010
This is a list of notices of proposed rulemaking compiled from the FCC Web site. Some Notices of Inquiry are also included. To the extent these proceedings deal with broadband, it's not at all clear whether the FCC will have the legal authority to go forward.
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If you were following our tweets yesterday (and don't forget to follow the tweets of our collective staff, found on this twitter list, too), you may have seen an update that PK Legal Director Harold Feld participated in a discussion about set top boxes, over-the-top Internet video, cutting the cord, and net neutrality on the Kojo Nnamdi Show. If you missed the live show, you can read the transcripts and listen to the recorded audio stream here.
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In the media world, there’s an ongoing war about what it means to “own” a copy of something. Most of us are used to the world of paper books and plastic CDs, where the media you buy is yours to do what you like with, be that play it in your living room, lend it to a friend, or (as a practical matter) rip it to your computer for your own use on other devices or locations. But in the world of DRM, the copyright owner gets to decide when, if, and for how long you get to do those things. The latest salvo in the battle to get consumers to accept DRM is DECE: the “Digital Entertainment Content Ecosystem.” DECE appears to be an attempt to make DRM interoperate better across different devices, services, and content sources. Is this a good thing – or at least a less bad thing – for content users? I’m not holding my breath…
**Ownership vs.
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In the media world, there’s an ongoing war about what it means to “own” a copy of something. Most of us are used to the world of paper books and plastic CDs, where the media you buy is yours to do what you like with, be that play it in your living room, lend it to a friend, or (as a practical matter) rip it to your computer for your own use on other devices or locations. But in the world of DRM, the copyright owner gets to decide when, if, and for how long you get to do those things. The latest salvo in the battle to get consumers to accept DRM is DECE: the “Digital Entertainment Content Ecosystem.” DECE appears to be an attempt to make DRM interoperate better across different devices, services, and content sources. Is this a good thing – or at least a less bad thing – for content users? I’m not holding my breath…
**Ownership vs.
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**Ownership vs.
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**Ownership vs.
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As devotees of our hit video series Five Minutes with Harold Feld (or as the cool kids call it “5MWHF”) will no doubt recall, on the eve of Thanksgiving MPAA dropped a lengthy filing into the Selectable Output Control (SOC) docket. Among other things, it called Harold a liar. Harold immediately took five minutes to tell MPAA to chillax, and yesterday we filed our official response with the FCC. Although I urge you to read our full reply (I promise it is much shorter than the MPAA’s), if you are in a rush here is the short version. Our response basically made three points.
**Most of MPAA’s Filing is Unrelated to SOC.
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As devotees of our hit video series Five Minutes with Harold Feld (or as the cool kids call it “5MWHF”) will no doubt recall, on the eve of Thanksgiving MPAA dropped a lengthy filing into the Selectable Output Control (SOC) docket. Among other things, it called Harold a liar. Harold immediately took five minutes to tell MPAA to chillax, and yesterday we filed our official response with the FCC. Although I urge you to read our full reply (I promise it is much shorter than the MPAA’s), if you are in a rush here is the short version. Our response basically made three points.
**Most of MPAA’s Filing is Unrelated to SOC.
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**Most of MPAA’s Filing is Unrelated to SOC.
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**Most of MPAA’s Filing is Unrelated to SOC.
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The MPAA's attempt to get the FCC to allow Hollywood to impose Selectable Output Control (SOC) on consumers has gotten quite a bit of coverage in the tech-savvy blogosphere over the past few days.
I was reading through the comments on two prominent blogs' postings, Boing Boing's Tell the FCC to say no to Hollywood's insane "Selectable Output Control" kill-switch and Gizmodo's MPAA Still Trying to Plug Your Analog Hole with Selectable Output Control, and it appears that even among a very informed subsection of the public, SOC still causes a lot of confusion. The main point of confusion is the relationship of SOC to other forms of video DRM.
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The MPAA's attempt to get the FCC to allow Hollywood to impose Selectable Output Control (SOC) on consumers has gotten quite a bit of coverage in the tech-savvy blogosphere over the past few days.
I was reading through the comments on two prominent blogs' postings, Boing Boing's Tell the FCC to say no to Hollywood's insane "Selectable Output Control" kill-switch and Gizmodo's MPAA Still Trying to Plug Your Analog Hole with Selectable Output Control, and it appears that even among a very informed subsection of the public, SOC still causes a lot of confusion. The main point of confusion is the relationship of SOC to other forms of video DRM.
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I was reading through the comments on two prominent blogs' postings, Boing Boing's Tell the FCC to say no to Hollywood's insane "Selectable Output Control" kill-switch and Gizmodo's MPAA Still Trying to Plug Your Analog Hole with Selectable Output Control, and it appears that even among a very informed subsection of the public, SOC still causes a lot of confusion. The main point of confusion is the relationship of SOC to other forms of video DRM.
[#title] => [#description] => [#printed] => 1 ) [#title] => [#description] => [#children] =>The MPAA's attempt to get the FCC to allow Hollywood to impose Selectable Output Control (SOC) on consumers has gotten quite a bit of coverage in the tech-savvy blogosphere over the past few days.
I was reading through the comments on two prominent blogs' postings, Boing Boing's Tell the FCC to say no to Hollywood's insane "Selectable Output Control" kill-switch and Gizmodo's MPAA Still Trying to Plug Your Analog Hole with Selectable Output Control, and it appears that even among a very informed subsection of the public, SOC still causes a lot of confusion. The main point of confusion is the relationship of SOC to other forms of video DRM.
[#printed] => 1 ) [links] => Array ( [node_read_more] => Array ( [title] => Read more [href] => node/2759 [attributes] => Array ( [title] => Read the rest of SOC in Context. ) ) ) ) As the Selectable Output Control (SOC) battle continues here in Washington, Public Knowledge just sent a letter to the FCC pointing out that movie studios are doing some of the best work to show why SOC just doesn’t make sense.
As you may recall, the entire point of SOC is to allow movie studios to release movies via Video on Demand (VoD) prior to the DVD release. The MPAA claims that without SOC protection, the VoD releases (which, unlike DVDs, are not protected and therefore theoretically easier to copy) would immediately be used to make perfect copies available to pirates. These perfect copies would destroy the market for DVDs, and ultimately destroy Hollywood. SOC protection would allow studios to protect VoD distribution and therefore save Hollywood.
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As the Selectable Output Control (SOC) battle continues here in Washington, Public Knowledge just sent a letter to the FCC pointing out that movie studios are doing some of the best work to show why SOC just doesn’t make sense.
As you may recall, the entire point of SOC is to allow movie studios to release movies via Video on Demand (VoD) prior to the DVD release. The MPAA claims that without SOC protection, the VoD releases (which, unlike DVDs, are not protected and therefore theoretically easier to copy) would immediately be used to make perfect copies available to pirates. These perfect copies would destroy the market for DVDs, and ultimately destroy Hollywood. SOC protection would allow studios to protect VoD distribution and therefore save Hollywood.
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As you may recall, the entire point of SOC is to allow movie studios to release movies via Video on Demand (VoD) prior to the DVD release. The MPAA claims that without SOC protection, the VoD releases (which, unlike DVDs, are not protected and therefore theoretically easier to copy) would immediately be used to make perfect copies available to pirates. These perfect copies would destroy the market for DVDs, and ultimately destroy Hollywood. SOC protection would allow studios to protect VoD distribution and therefore save Hollywood.
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As you may recall, the entire point of SOC is to allow movie studios to release movies via Video on Demand (VoD) prior to the DVD release. The MPAA claims that without SOC protection, the VoD releases (which, unlike DVDs, are not protected and therefore theoretically easier to copy) would immediately be used to make perfect copies available to pirates. These perfect copies would destroy the market for DVDs, and ultimately destroy Hollywood. SOC protection would allow studios to protect VoD distribution and therefore save Hollywood.
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If you were following the DMCA Section 1201 anticircumvention rulemaking proceedings last week, you likely saw Tim Vollmer's video of the MPAA's demonstration on how to create a film clip by pointing a camcorder at a TV set (embedded above). This demonstration was the MPAA's response to an exemption request filed by educators, who are seeking to exercise their fair use rights by breaking the CSS encryption on DVDs in order to make short clips for classroom use.
As you'll recall, a group of media studies professors led by Peter DeCherney successfully filed for just such an exemption in 2006 (for more on that, see our video interview with DeCherney, embedded after the break). Three years later, the educators have returned, in an attempt to renew the exemption and to expand it to include students in media studies classes as well as educators outside of the media studies field. Despite having three years to regroup, the studios returned with the same tired, apocryphal argument: despite the fact that DVD-ripping is already widespread, if educators are allowed to legally rip, demand for DVDs will plummet and the industry will collapse. As an alternative, they suggest camcording, a cumbersome process that produces low-quality clips while requiring a significant investment in video recording equipment. Practical matters aside, the MPAA's argument for camcording also happens to contradict a number of the organization's other arguments against fair use--a fact that was not lost on many of the witnesses at last Wednesday's hearing.
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If you were following the DMCA Section 1201 anticircumvention rulemaking proceedings last week, you likely saw Tim Vollmer's video of the MPAA's demonstration on how to create a film clip by pointing a camcorder at a TV set (embedded above). This demonstration was the MPAA's response to an exemption request filed by educators, who are seeking to exercise their fair use rights by breaking the CSS encryption on DVDs in order to make short clips for classroom use.
As you'll recall, a group of media studies professors led by Peter DeCherney successfully filed for just such an exemption in 2006 (for more on that, see our video interview with DeCherney, embedded after the break). Three years later, the educators have returned, in an attempt to renew the exemption and to expand it to include students in media studies classes as well as educators outside of the media studies field. Despite having three years to regroup, the studios returned with the same tired, apocryphal argument: despite the fact that DVD-ripping is already widespread, if educators are allowed to legally rip, demand for DVDs will plummet and the industry will collapse. As an alternative, they suggest camcording, a cumbersome process that produces low-quality clips while requiring a significant investment in video recording equipment. Practical matters aside, the MPAA's argument for camcording also happens to contradict a number of the organization's other arguments against fair use--a fact that was not lost on many of the witnesses at last Wednesday's hearing.
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If you were following the DMCA Section 1201 anticircumvention rulemaking proceedings last week, you likely saw Tim Vollmer's video of the MPAA's demonstration on how to create a film clip by pointing a camcorder at a TV set (embedded above). This demonstration was the MPAA's response to an exemption request filed by educators, who are seeking to exercise their fair use rights by breaking the CSS encryption on DVDs in order to make short clips for classroom use.
As you'll recall, a group of media studies professors led by Peter DeCherney successfully filed for just such an exemption in 2006 (for more on that, see our video interview with DeCherney, embedded after the break). Three years later, the educators have returned, in an attempt to renew the exemption and to expand it to include students in media studies classes as well as educators outside of the media studies field. Despite having three years to regroup, the studios returned with the same tired, apocryphal argument: despite the fact that DVD-ripping is already widespread, if educators are allowed to legally rip, demand for DVDs will plummet and the industry will collapse. As an alternative, they suggest camcording, a cumbersome process that produces low-quality clips while requiring a significant investment in video recording equipment. Practical matters aside, the MPAA's argument for camcording also happens to contradict a number of the organization's other arguments against fair use--a fact that was not lost on many of the witnesses at last Wednesday's hearing.
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If you were following the DMCA Section 1201 anticircumvention rulemaking proceedings last week, you likely saw Tim Vollmer's video of the MPAA's demonstration on how to create a film clip by pointing a camcorder at a TV set (embedded above). This demonstration was the MPAA's response to an exemption request filed by educators, who are seeking to exercise their fair use rights by breaking the CSS encryption on DVDs in order to make short clips for classroom use.
As you'll recall, a group of media studies professors led by Peter DeCherney successfully filed for just such an exemption in 2006 (for more on that, see our video interview with DeCherney, embedded after the break). Three years later, the educators have returned, in an attempt to renew the exemption and to expand it to include students in media studies classes as well as educators outside of the media studies field. Despite having three years to regroup, the studios returned with the same tired, apocryphal argument: despite the fact that DVD-ripping is already widespread, if educators are allowed to legally rip, demand for DVDs will plummet and the industry will collapse. As an alternative, they suggest camcording, a cumbersome process that produces low-quality clips while requiring a significant investment in video recording equipment. Practical matters aside, the MPAA's argument for camcording also happens to contradict a number of the organization's other arguments against fair use--a fact that was not lost on many of the witnesses at last Wednesday's hearing.
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It's gotten so easy to rent movies on the tv that my wife had actually rented one, 27 Dresses, three times. Yes, the money we've spent to rent this particular movie has added up to more than the cost of owning the video. No, I'm not bitter about it or anything. Earlier this week, I was helping her put some movies on the ole' iPod so she could have some in-flight entertainment for a work trip. Of course, she wanted to have 27 Dresses again, so I said, "Can we please buy this movie once and for all?!"
Unfortunately, when I went to the iTunes Store, the movie was no where to be found--for rent or purchase. I wondered if anyone else had experienced this. I swore we rented it from iTunes, and verified it in my purchase history. The closest I could get to the movie was its soundtrack, it didn't appear to be available on the other movie download services either.
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It's gotten so easy to rent movies on the tv that my wife had actually rented one, 27 Dresses, three times. Yes, the money we've spent to rent this particular movie has added up to more than the cost of owning the video. No, I'm not bitter about it or anything. Earlier this week, I was helping her put some movies on the ole' iPod so she could have some in-flight entertainment for a work trip. Of course, she wanted to have 27 Dresses again, so I said, "Can we please buy this movie once and for all?!"
Unfortunately, when I went to the iTunes Store, the movie was no where to be found--for rent or purchase. I wondered if anyone else had experienced this. I swore we rented it from iTunes, and verified it in my purchase history. The closest I could get to the movie was its soundtrack, it didn't appear to be available on the other movie download services either.
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Unfortunately, when I went to the iTunes Store, the movie was no where to be found--for rent or purchase. I wondered if anyone else had experienced this. I swore we rented it from iTunes, and verified it in my purchase history. The closest I could get to the movie was its soundtrack, it didn't appear to be available on the other movie download services either.
[#title] => [#description] => [#printed] => 1 ) [#title] => [#description] => [#children] =>It's gotten so easy to rent movies on the tv that my wife had actually rented one, 27 Dresses, three times. Yes, the money we've spent to rent this particular movie has added up to more than the cost of owning the video. No, I'm not bitter about it or anything. Earlier this week, I was helping her put some movies on the ole' iPod so she could have some in-flight entertainment for a work trip. Of course, she wanted to have 27 Dresses again, so I said, "Can we please buy this movie once and for all?!"
Unfortunately, when I went to the iTunes Store, the movie was no where to be found--for rent or purchase. I wondered if anyone else had experienced this. I swore we rented it from iTunes, and verified it in my purchase history. The closest I could get to the movie was its soundtrack, it didn't appear to be available on the other movie download services either.
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The 10th anniversary of the DMCA is not the only infamous 10th anniversary that Public Knowledge gets to “celebrate” this week. Yesterday was the 10th anniversary of the enactment of the Sonny Bono Copyright Term Extension Act of 1998. That law extended copyright terms from 50 years after the life of an author and 70 years in the case of corporations, to 70 years beyond the life of an author and 95 years in the case of corporations. Named after Sonny Bono, the late Congressman best known for his musical and personal partnership with the performer Cher, the law has taken countless works out of the public domain, greatly weakening the wellspring of creativity and knowledge from which new creativity emerges.
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The 10th anniversary of the DMCA is not the only infamous 10th anniversary that Public Knowledge gets to “celebrate” this week. Yesterday was the 10th anniversary of the enactment of the Sonny Bono Copyright Term Extension Act of 1998. That law extended copyright terms from 50 years after the life of an author and 70 years in the case of corporations, to 70 years beyond the life of an author and 95 years in the case of corporations. Named after Sonny Bono, the late Congressman best known for his musical and personal partnership with the performer Cher, the law has taken countless works out of the public domain, greatly weakening the wellspring of creativity and knowledge from which new creativity emerges.
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[#title] => [#description] => [#printed] => 1 ) [#title] => [#description] => [#children] =>The 10th anniversary of the DMCA is not the only infamous 10th anniversary that Public Knowledge gets to “celebrate” this week. Yesterday was the 10th anniversary of the enactment of the Sonny Bono Copyright Term Extension Act of 1998. That law extended copyright terms from 50 years after the life of an author and 70 years in the case of corporations, to 70 years beyond the life of an author and 95 years in the case of corporations. Named after Sonny Bono, the late Congressman best known for his musical and personal partnership with the performer Cher, the law has taken countless works out of the public domain, greatly weakening the wellspring of creativity and knowledge from which new creativity emerges.
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