![]() Let’s call it “Piracy 3.0” – after the earlier eras of Piracy 1.0 for discs and Piracy 2.0 for p2p/torrents – by offering an open-source streaming media player giving users a simple, easy-to-use media center to organize and access all of their digital media content.Īs a media center application, there is nothing illegal about Kodi software, which provides plug-ins for you to add YouTube and other OTT channels. Welcome Kodi, which takes piracy to a whole new level. ![]() These measures, particularly playback control, will need to come into play even more now that new, legitimate set-top boxes are flooding the market that can be quickly and simply converted to provide access to stolen movies and TV shows. The Ugly: Kodi and Next-Gen Streaming Boxes (Disclosure: One company which I consult for, Verance, licenses playback control products. The latter utilizes a highly effective standalone technology – an audio watermark – that is embedded within content and detected by devices to identify and prevent the playback of illegal content. Studios use a variety of anti-piracy tools, ranging from takedown notices to playback control. Once the content has been stolen and made available on the internet, anti-piracy measures kick in encompassing both legal and technological solutions. These measures, however, are primarily designed to keep “honest people honest.” If I rent a movie, a DRM license triggers a 48-hour window for me to watch it. For instance, if I pay my monthly bill, my cable service remains turned on. In its most basic form, conditional access and DRM (Digital Rights Management) are content protection technologies. Content is encrypted and can only be viewed when certain conditions are met. While there is some overlap, content protection deals with delivering differentiated business models to consumers and protecting content against theft. In its ongoing battle against piracy, Hollywood employs both content protection technologies and anti-piracy measures. By the time the audio and video are digitally transmitted to a television or movie screen through blockchain or other technologies, it is simply too late to prevent a film from being copied and widely distributed on the internet. Remember, it only takes one copy to become a million copies on the internet. ![]() ![]() To be viewed, the digital signals delivered over the internet to your television must be converted into analog in order for your eyes to see it and your ears to hear it.Īnd if I can see it, I can copy it. Our brains cannot process digital signals, at least for the moment, anyway. While it could be useful in battling some distribution inefficiencies confronting the industry, it is ineffective as an anti-piracy tool. As Hollywood warms to the technology’s potential to develop a new, secure and decentralized distribution path, many big companies and startups are looking to make its “frictionless” micropayment models work for entertainment and media by reducing costs, increasing speed and transparency with a simple and automated transactional process.Īs is often the case with new technologies, some of Hollywood’s blockchain proponents are proposing a solution in search of a problem. ![]()
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