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Pirates Get Game of Thrones Early, Again

lundi 13 juin 2016 à 09:54

got6This year HBO decided to stop releasing promotional Game of Thrones screeners to the press.

The drastic move was taken to prevent early leaks, as had happened last year. However, thus far this strategy hasn’t been very effective.

While no screener releases have come out, as planned, the company itself has been the source of several breaches already.

Sunday afternoon, several hours before the official premiere, episode 8 of Game of Thrones’ latest season was already being shared online by tens of thousands of people.

A high quality copy with the scene release group tag “EXCLUSiVE” quickly spread to various torrent sites, giving pirates the exclusive indeed.

While it’s unclear how the group got their hands on the early copy, it appears that HBO may be to blame. The episode carries the regular HBO watermark and the “WEB” release tag shows that the video was ripped from an online service, likely HBO Go.

In addition to the Game of Thrones, HBO’s Veep and Silicon Valley were also released several hours early by the same scene group.

HBO leaks

gotleak

This isn’t the first episode of Game of Thrones to came out early this year. The same happened with the fifth episode due to a mistake at HBO Nordic. In addition, the season premiere also leaked a few hours early according to some reports.

For several years in a row Game of Thrones has been the most pirated TV-show, and this year the interest is once again overwhelming. What appears to be changing is HBO’s attitude towards those who share the show without permission.

Not too long ago HBO CEO Jeff Bewkes said that GoT’s piracy records were “better than an Emmy,” but the company gradually increased its efforts to combat unauthorized sharing.

Over the past several weeks thousands of pirates have received warnings in their mailboxes, the company is also fervently taking down links to pirated copies of the show, and “porn” clips and spoilers have been targeted.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Top 10 Most Pirated Movies of The Week – 06/13/16

lundi 13 juin 2016 à 09:36

xmenapoThis week we have four newcomers in our chart.

X-Men: Apocalypse is the most downloaded movie for the third week in a row.

The data for our weekly download chart is estimated by TorrentFreak, and is for informational and educational reference only. All the movies in the list are BD/DVDrips unless stated otherwise.

RSS feed for the weekly movie download chart.

Ranking (last week) Movie IMDb Rating / Trailer
torrentfreak.com
1 (1) X-Men: Apocalypse (HDCam/TC) 7.7 / trailer
2 (…) Warcraft 7.7 / trailer
3 (…) Eye In The Sky 7.6 / trailer
4 (4) Zootopia 8.3 / trailer
5 (…) Midnight Special 6.9 / trailer
6 (2) 13 Hours: The Secret Soldiers of Benghazi 7.4 / trailer
7 (3) London Has Fallen 5.9 / trailer
8 (…) Cell 4.7 / trailer
9 (6) Captain America: Civil War (TC) 8.4 / trailer
10 (9) Alice Through the Looking Glass 6.4 / trailer

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

The Sad Hypocrisy of the Clockwork Orange YouTube Lawsuit

dimanche 12 juin 2016 à 18:11

clockwork-logoLike many who first heard the news last weekend, I don’t admitting that I was moved by a video uploaded by YouTuber Lewis Bond. Seeing someone scared – terrified even – isn’t fun.

An aspiring young filmmaker, Bond runs Channel Criswell on YouTube and his work shows excellent promise for a fruitful career. Sadly, his immediate future looks decidedly more gloomy.

The details can be found here, but essentially a 20 minute video analysis of Stanley Kubrick movies created by UK-based Bond has provoked a lawsuit from a company holding the copyrights to some of the music tracks featured in the background.

In a nutshell, Bond appears to have a firm belief that he has a strong fair-use case. Serendip LLC, which owns the copyrights to the music featured in the 1971 movie ‘A Clockwork Orange’, beg to differ. Take a moment or two to listen to the track in question at the start of the video below, it’s important.

The end result is a lawsuit which could see Bond on the receiving end of $150,000 in statutory damages for each infringement. From everything seen to date, it seems unlikely the 23-year-old can come up with that kind of cash. It’s possible he’ll struggle to finance a defense.

Seeing Bond visibly choked was a sad sight and it got me thinking. While undoubtedly a wonderful and timeless piece of music, is a track from 1971 really bringing in the money for Clockwork Orange composer Wendy Carlos today? Has Bond’s fleeting reproduction of a part of this track in his documentary caused real financial damage?

I don’t have the answer to those questions but while researching this case I came across something that surprised even me, a huge ClockWork Orange fan. Although arranged and performed by Carlos, the main theme from A Clockwork Orange isn’t her work at all. In fact, the entire piece – virtually note for note – has been lifted from a piece penned by composer Henry Purcell.

Born in England in September 1659, Purcell developed into what many consider to be one of the country’s greatest composers. His 1695 piece ‘Music for the Funeral of Queen Mary’ was played at the funeral of Queen Mary II, who had died in December of the previous year.

It is an abridged version of this music that forms the entire basis of Carlos’ 1971 work. Arrangement and beautiful synthesizer work aside, it’s virtually identical.

Purcell died in 1695 and quite rightfully his work is now in the public domain. As a result Wendy Carlos was absolutely within her right to take this piece and run with it and as a supporter of remix culture, I salute her efforts entirely.

Sadly, however, I can’t help but note the sad hypocrisy here. Just for a moment, let’s cast aside the legalities of copyright law and instead focus on the notion of artists using the work of others to create new art.

In the 1970s, Carlos took Purcell’s work and modernized it beautifully and there are now millions of people out there who only know her version of the work. By taking his work, she has touched audiences in a way Purcell could not. It’s probably worth noting that Carlos undoubtedly made more money from Purcell’s work than Purcell ever did too, and good for her.

Like Carlos before him, Lewis Bond is also somewhat of a remixer. His Kubrick analysis by Serendip’s own description is a “mélange of brief snippets” and he too is bringing the work of the filmmaker and indeed Wendy Carlos to a brand new audience that Purcell himself could only dream of. I’d like to think Purcell would be pleased for their success.

Importantly, in the same manner that Carlos paid homage to Purcell with her work, by opening his video with Music for the Funeral of Queen Mary the main theme from Clockwork Orange, in turn Bond paid homage to Carlos. It strikes me that rather than having disrespect for each other, all involved in this downward chain deeply appreciate each other’s talents.

Of course, since Bond’s channel is monetized, Carlos believes she should be paid for her work. Bond, on the other hand, is stuck in a fair use dilemma, and will have to fight an expensive court battle to find out who is in the right. Let’s face it, that is not going to happen.

Bond is unlikely to put up any kind of fight and whatever happens – win or lose – Serendip/Carlos aren’t going to get a penny from Bond in the UK. What I’m saying today is that among business people – among artists – in today’s climate there must be a better way to sort this out.

Getting the parties to talk might not be easy, but there are plenty of options if they just take the opportunity. Bond won’t have made much from his video, but paying a small sum to Carlos might be an option, if he doesn’t have the stomach for a fair use war.

The option I like best, however, is a collaboration. Carlos has talents. Bond has talents too. So, as artists, why not do something together? When it comes down to it they have a lot in common. Both have made new creative works on the backs of other people’s efforts without paying them a dime. That alone provides the basis for discussion – they’re already on the same page.

But most of all, why are people wasting each other’s lives with these pointless lawsuits? On YouTube there are plenty of instances where people have uploaded the whole of Carlos’ work, literally a full-fledged pirate copy of everything notable she’s ever done. They’re freely available on the platform today yet Bond – someone who brings something creative to the party – faces financial ruination? That makes no sense.

Although Wendy Carlos and her representatives failed to respond to our requests for comment, there may be a glimmer of light at the end of the tunnel. A TorrentFreak reader managed to make contact with someone on Wendy Carlos’ site who fired back quite an email. It ends as follows:

“There is much bad advice on the internet about copyright and the use of music on YouTube, but some very good advice that should be followed is not to post other people’s copyrighted music on the internet ‘because you like it and want others to hear it’,” the email reads.

“This YouTube user would also be well advised to follow the old saw that ‘when you find yourself in a hole, you should stop digging.’ His problems might go away if he would just ‘undo’ his previous bad choices.”

That sounds like an olive branch. Someone might like to grab it.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

“Piracy Monitoring Outfit Uses Flawed Tracking Technology”

dimanche 12 juin 2016 à 10:57

pirate-runningNearly a decade ago, research from the University of Washington revealed that some piracy tracking outfits were painfully sloppy.

The researchers found that not all anti-piracy companies actually check if someone’s sharing a file, before sending out their DMCA notices. As a result, a local printer at a university was branded a serial pirate.

This mistake is the result of passive monitoring, where tracking outfits don’t verify if an IP-address in a BitTorrent swarm is actually trading pieces of a copyrighted file. This results in many false accusations, not least because many trackers insert random IP-addresses.

While this practice has become more rare in recent years, tracking methods at some companies are still not perfect.

TorrentFreak was recently approached by a torrent site operator who regularly scrapes trackers and BitTorrent’s DHT to discover new metadata. While his system is setup specifically to gather information (not to share any content), he is still accused of doing so by copyright holders.

“In less than 24 hours of indexing we’ve received more than a dozen DMCA notices from IP-Echelon, claiming that we are ‘distributing copyrighted video files’,” the site owner explains.

The odd part is that these notices we’re not meant for the website, but targeted the server that gathered the torrent information. These are similar to the warnings regular downloaders receive through their ISP, and list the IP-address and port that was allegedly used to “distribute” the files.

TorrentFreak has seen copies of the notices in question, which are sent on behalf of major movie studios including Paramount Pictures. They were not sent to the torrent site directly, but to its hosting provider instead.

“IP-Echelon has become aware that the below IP addresses have been using your service for distributing video files, which contain infringing video content that is exclusively owned by Paramount,” the tracking company writes.

“We are requesting your immediate assistance in removing and disabling access to the infringing material from your network. We also ask that you ensure the user and/or IP address owner refrains from future use and sharing of Paramount materials and property,” the notice adds.

ipecheerror

The torrent site owner doesn’t deny that he is fetching information from the same BitTorrent swarms IP-Echelon is monitoring, but says that his systems are specifically configured not to share any infringing content.

In fact, he also received notices for a server that only fetches torrent metadata from the DHT.

“This server just fetches infodata, never starts any piece transfers. It was setup specifically as a ‘clean’ box and never participated in any torrent transfers,” he says.

According to the site owner this shows that IP-Echelon doesn’t really bother to check if the people they accuse are actually sharing any substantial copyrighted data, unless they see metadata as “infringing” too.

“To qualify for ‘sharing’ you have to actually share content. That is, have a piece of data, advertise that as available, and then send at least a valid piece of data when asked to. That would be proper actionable evidence.

“IP Echelon just seems to spam anyone who turns up in peer lists,” he adds.

When asking for additional details the site owner explained that his DHT fetching method uses libtorrent’s ‘disabled_storage’ storage setting. This means that no data is stored on the server, so there would be no infringing pieces to upload either.

TorrentFreak contacted IP-Echelon to hear their side of the story, but the company preferred not to respond in detail. Instead, they left the following comment.

“We do not comment in the press regarding IP-Echelon’s technology and operations. However, we can assure you that all statements made by IP-Echelon in dispatched notices are accurate,” the company replied.

“Any recipient of a notice who has concerns about its legitimacy is welcome to get in touch with us direct,” the company added.

Without a comprehensive audit on both ends it’s hard to conclusively say which side is right. However, this is certainly not the first time that torrent tracking methods have been called into doubt.

Earlier this year researcher Aymeric Vitte TorrentFreak revealed extensive research showing that very few DHT tracking outfits actually check whether a BitTorrent user is actively uploading content.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Tube Sites Win Copyright Case Against Adult Studios

samedi 11 juin 2016 à 20:23

copyright-bloodAs the former operators of Megaupload are only too aware, hosting user-uploaded content can be a perilous activity, even when the Digital Millennium Copyright Act is followed to the letter. Sun Social Media (SSM), a US-based company behind several video platforms, have also had a taste of the risks.

In addition to dating sites, SSM owns four so-called tube sites – Playvid.com, Playvids.com, Peekvids.com, and Feedvid.com. Adult video company Hydentra HLP (also known as MetArt Network), the operator of more than a dozen porn sites, sued SSM claiming that more than 70 of its videos appeared on SSM’s sites without permission.

According to court papers, SSM sites host more than 475,000 adult videos uploaded by their users. Each must agree only to upload videos to which they have the rights. Once uploaded, an independent outside contractor checks every video to ensure they don’t contain criminally illegal content or spam. If they do they are blocked.

In addition to SSM and its four videos sites, Hydentra named two other defendants in the case, SSM director Konstantin Bolotin and Constantin Luchian of IncorporateNow Inc, a company that among other things acts as SSM’s registered DMCA agent. Documents show that SSM accepts copyright claims in various formats, from email and fax, their ‘contact us’ page, through to the unlikely option of posting claims through the mail. Claims are processed within 48 hours.

Importantly, SSM also has a repeat infringer policy operating on a “three strikes in six months and you’re out” basis. To date, SSM has reportedly terminated more than 1,000 users for multiple infringements.

Hydentra hired anti-piracy company Battleship Stance LLC to tackle infringement on various platforms including those operated by SSM. In the majority of cases these were sent electronically and actioned quickly. However, on one occasion the company chose to send 56 DMCA notices to SSM’s DMCA agent IncorporateNow. Printed on paper, delivered through the mail.

The package was signed for on January 20, 2015 by IncorporateNow’s landlord’s receptionist but for reasons that aren’t clear, DMCA agent Constantin Luchian never personally received the package. As a result the content stayed up.

On June 4, 2015, Hydentra filed a complaint against SSM, who at this point became aware of the allegedly infringing content. SSM disabled the files as appropriate but the lawsuit continued.

Hydentra filed claims for direct infringement, contributory infringement, vicarious copyright infringement, inducement of copyright infringement plus various claims related to trademarks.

Later, both parties filed Cross-Motions for Summary Judgment on each of the plaintiff’s claims. At the Federal Court in Miami, things didn’t go well for Hydentra.

“The Court agrees with Defendants that in imposing liability upon an internet service provider for third-party users’ uploading of copyrighted material, Plaintiff must establish that Defendants engaged in a volitional act to cause the illegal copying,” the judge wrote.

“To find otherwise would impose liability upon an otherwise passive internet service provider for conduct that is simply out of its control.”

No such acts were established resulting in SSM’s motion for Summary Judgment being granted and Hydentra’s being denied.

In respect of the claims of contributory infringement, SSM said that it could not be held liable since it had no knowledge of the paper-based DMCA notices. Once notified via lawsuit, all of the videos were removed. The judge said the matter of lost notices couldn’t be resolved during a motion for Summary Judgment.

“Neither party has cited cases, nor has the Court been able to locate cases, where a DMCA Designated Agent lost take-down notices, causing an internet service provider to incur liability for copyright infringement based upon constructive knowledge,” the judge wrote.

Furthermore, for a contributory infringement claim to succeed, Hydentra would need to show that SSM’s tube sites were not capable of “substantial noninfringing uses.” The company failed to do so.

“While the record is clear that at times, third-party users of Defendants’ Websites upload copyrighted material, there is record evidence that the Websites are capable of being used for purposes other than copyright infringement,” the judge noted.

SSM’s motion to dismiss was granted. The claim of Vicarious Copyright Infringement received the same treatment.

“To prevail on a claim for vicarious infringement, a plaintiff must allege that the defendant ‘infringes vicariously by profiting from direct infringement while declining to exercise a right to stop or limit it’,” the judge wrote.

“Plaintiff’s argument that the infringed videos somehow attracted and
drew more visitors to Defendants’ Websites, which allowed Defendants to receive more revenue in advertisements, is not supported by record evidence and is highly speculative.”

The claim of Inducement of Copyright Infringement was dealt with even more swiftly.

“The Court agrees with Defendants that there is no record evidence that Defendants induced the third-party users into uploading copyrighted
material. To the contrary, the record is clear that Defendants operated as passive internet service providers,” the judge wrote.

Val Gurvits of Boston Law Group, who along with local counsel Brady Cobb defended the tube sites, is pleased with the result.

“SunSocial had a strong record of responding to DMCA notices and of terminating repeat infringers. Of note is that in dismissing their copyright claims, the court actually ruled on the underlying merits of the case, and not on DMCA safe-harbor,” he informs TF.

Nevertheless, Gurvits says that the sending of the paper notices was a troubling development.

“Plaintiff intentionally manufactured a DMCA ‘non-compliance’ situation by interjecting paper DMCA notices into an established course of dealings via electronic ones. They first sent all DMCA notices electronically, and SunSocial diligently acted on all of them. Then for some reason they sent 56 paper notices (allegedly in one FedEx package). Then they continued to send electronic notices,” Gurvits says.

“The only reason for Hydentra to interject paper notices into an established exchange of electronic notices is because they hope that recipient will mistakenly miss some of them. It seems they used this process as a pretext for filing some of their other presently pending lawsuits.”

Meanwhile, Hydentra is extremely active taking down content from Google, with more than 2.4 million URLs removed to date.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.