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Most Movies On P2P From Insiders?
An anonymous reader writes "AT&T Labs has determined that a significant majority of movies on P2P networks are the result of leaks from movie industry insiders (New York Times, free reg req'd). They not only point to the obvious cases (movies online before theatrical release, like The Hulk or Star Wars AOTC), but also examine other cases. The researchers examined 285 movies from P2P networks and used the quality of the file to determine whether it was some guy with a video camera or not. Choice quote: 'Our conclusion is that the distributors really need to take a hard look at their own internal processes and look at how they can stop the insider leaks of their movies before taking measures that might hamstring consumers' technologies and rights.'"
By JOHN SCHWARTZ
When "Hulk" hit the small screen early, Hollywood hit the roof. Two weeks before this summer's film adaptation of the angry green giant opened in theaters in June, copies started showing up on file-sharing networks around the world. The film cost Universal $150 million to make and distribute, but anyone with a fast Internet connection, a big hard drive and plenty of time could see it free.
Hollywood is desperately worried that it will soon face the widespread illegal copying that has bedeviled the music industry -- and that prompted record companies to file lawsuits last week against 261 people accused of illegally distributing copyrighted music online. Piracy of works in digital format, like DVD's or high-definition television is, in theory, so simple that whole movies could be zapped around the globe with a click of a mouse -- a prospect that Jack Valenti, chief executive of the Motion Picture Association of America, has told lawmakers "gives movie producers multiple Maalox moments."
But the early debut of "Hulk" was not the work of the armies of KaZaA-loving college students or cinephile hackers. The copy that made its way to the Internet was an almost-complete working version of the film that had been circulated to an advertising agency as part of the run-up to theatrical release. And "Hulk" is not alone.
According to a new study published by AT&T Labs, the prime source of unauthorized copies of new movies on file-sharing networks appears to be movie industry insiders, not consumers. The study is "the first publicly available assessment of the source of leaks of popular movies," according to its authors.
Nearly 80 percent of some 300 copies of popular movies found by the researchers on online file sharing networks "appeared to have been leaked by industry insiders," and nearly all showed up online before their official consumer DVD release date, suggesting that consumer DVD copying represents a relatively minor factor compared with insider leaks.
"Our conclusion is that the distributors really need to take a hard look at their own internal processes and look at how they can stop the insider leaks of their movies" before taking measures that might hamstring consumers' technologies and rights, said Lorrie Cranor, a researcher at AT&T Labs and lead author of the study.
The production and distribution process provide a better choke point, Ms. Cranor said, than antipiracy measures that could hamstring consumer electronics devices and computer networks. "If you're not going to worry about the insiders, it's kind of pointless to worry about the outsiders," she said.
The insiders might be workers in production or promotion, or even Academy Awards screeners, to whom the studios send thousands of advance copies of DVD's each year. "The movie industry ought to treat everybody within its influence equally, from studio executives and investors, down through movie editors, truck drivers and out to the critics," concluded Ms. Cranor and her coauthors, AT&T Labs researchers Patrick McDaniel, Simon Byers and Dave Kormann, and Eric Cronin of the University of Pennsylvania.
Ken Jacobsen, senior vice president and director of worldwide piracy issues for the motion picture association, said he had not yet seen the report, but added that its conclusions seemed off.
"The industry experience is the awards screeners are a source for piracy," he said, but primarily during the Oscar-judging season. "The industry experience also is, on a rare occasion, a copy gets out of a postproduction house and enters the pirate marketplace. And the industry experience is that a majority of movies enter the pirate marketplace as a result of illegal camcording" in theaters. Digital piracy, he said, is "a serious problem for us now."
Still, large-scale swapping of high quality, full-length films and HDTV programs is out of the reach of all but the most wired consumer b
Google access and a new scientist story on the same thing.
The researchers examined 285 movies from P2P networks and used the quality of the file to determine whether it was some guy with a video camera or not.
Why? They could just have checked VCDQuality and saved alot of time/bandwidth.
What post? The one you're carrying inside your rusty innards!
the nytimes article doesn't seem to link to the paper, which is here
Anyone who's taken a trip over to Suprnova can tell you that a good portion of the movies there, no matter how recently they've been released, are of excellent quality. The high quality copying is done a couple ways:
Some of the leaked movies are a copy of the actual film that they show in the theater - they use a machine to convert it to a digital format.
Some of them are leaks of the DVDs that are sent out to awards judges. Every once in a while the words "For Your Consideration" will pop up across the bottom (this is also usually the source of the bootlegs on EBay)
With the ways movies are distributed now, there's really not much that they can do about cutting off the source. Until they move to a completely digital format in theaters will lots of fun DRM, this will continue. (Although even then people will find a way to crack it, I'm sure)
-- Dr. Eldarion --
In the DVD production process, there would be multiple copies of the movie, at the subtitling studio, at the dubbing studio, at the scene selection encoding studio, and at the assembly point where all the extra stuff meets up with the dubbing and subtitling.
You can read the full report at http://lorrie.cranor.org/pubs/drm03.html
given that nowadays you can pack 2+ gigs in a CompactFlash form factor it must be hard to enforce the 'no recordable media in/out of the office' restrictions: that or maybe installing a 1 tesla 'gate' and having people walk through it :)
Also it's not that hard to tunnel ssh sessions over http, so unless you completely isolate the boxes from the internet if somebody -really- means mischief they'll probably be able to figure out a way to do it...
-- the cake is a lie
Here is a list of the sources that can be used.
Courtesy of http://www.vcdquality.com/
CAM -
A cam is a theater rip usually done with a digital video camera. A mini tripod is sometimes used, but a lot of the time this wont be possible, so the camera make shake. Also seating placement isn't always idle, and it might be filmed from an angle. If cropped properly, this is hard to tell unless there's text on the screen, but a lot of times these are left with triangular borders on the top and bottom of the screen. Sound is taken from the onboard microphone of the camera, and especially in comedies, laughter can often be heard during the film. Due to these factors picture and sound quality are usually quite poor, but sometimes we're lucky, and the theater will be fairly empty and a fairly clear signal will be heard.
TELESYNC (TS) -
A telesync is the same spec as a CAM except it uses an external audio source (most likely an audio jack in the chair for hard of hearing people). A direct audio source does not ensure a good quality audio source, as a lot of background noise can interfere. A lot of the times a telesync is filmed in an empty cinema or from the projection booth with a professional camera, giving a better picture quality. Quality ranges drastically, check the sample before downloading the full release. A high percentage of Telesyncs are CAMs that have been mislabeled.
TELECINE (TC) -
A telecine machine copies the film digitally from the reels. Sound and picture should be very good, but due to the equipment involved and cost telecines are fairly uncommon. Generally the film will be in correct aspect ratio, although 4:3 telecines have existed. A great example is the JURASSIC PARK 3 TC done last year. TC should not be confused with TimeCode , which is a visible counter on screen throughout the film.
SCREENER (SCR) -
A pre VHS tape, sent to rental stores, and various other places for promotional use. A screener is supplied on a VHS tape, and is usually in a 4:3 (full screen) a/r, although letterboxed screeners are sometimes found. The main draw back is a "ticker" (a message that scrolls past at the bottom of the screen, with the copyright and anti-copy telephone number). Also, if the tape contains any serial numbers, or any other markings that could lead to the source of the tape, these will have to be blocked, usually with a black mark over the section. This is sometimes only for a few seconds, but unfortunately on some copies this will last for the entire film, and some can be quite big. Depending on the equipment used, screener quality can range from excellent if done from a MASTER copy, to very poor if done on an old VHS recorder thru poor capture equipment on a copied tape. Most screeners are transferred to VCD, but a few attempts at SVCD have occurred, some looking better than others.
DVD-SCREENER (DVDscr) -
Same premise as a screener, but transferred off a DVD. Usually letterbox , but without the extras that a DVD retail would contain. The ticker is not usually in the black bars, and will disrupt the viewing. If the ripper has any skill, a DVDscr should be very good. Usually transferred to SVCD or DivX/XviD.
DVDRip -
A copy of the final released DVD. If possible this is released PRE retail (for example, Star Wars episode 2) again, should be excellent quality. DVDrips are released in SVCD and DivX/XviD.
VHSRip -
Transferred off a retail VHS, mainly skating/sports videos and XXX releases.
TVRip -
TV episode that is either from Network (capped using digital cable/satellite boxes are preferable) or PRE-AIR from satellite feeds sending the program around to networks a few days earlier (do not contain "dogs" but sometimes have flickers etc) Some programs such as WWF Raw Is War contain extra parts, and the "dark matches" and camera/commentary tests are included on the rips. PDTV is capped from a digital TV PCI card, generally giving the best results, and groups tend to release in SVCD for these. VCD/SVCD/DivX/XviD rips are all supported by
He's a first class troll. Check his comment history.
As of now they put serials and watermarks on a small portion of the screen. They get blurred out or have a block of black overtop when they get ripped. The only solution would be to put a watermark over the entire screen, which would ruin the whole purpose. Or use hidden watermarks/identification at certain frames.
The worst part is not enough people know he's a troll, so when I down-mod him I usually get marked Unfair.
They already watermark many major movies, and will continue to do so.
This will, of course, not be effective.
When will they learn?
-dave-
The pig browse. With Google. Sigh is to the chicken. Chicken is fool. Giggle. The DailyWTF giggle.
quote: " I have a hard time believing anyone would be so stupid as to voluntarily share kiddie porn on a public network."
The sad thing is people are really that stupid. People have posted child porn to UseNet, sent it out as emails, and even put it on public web-sites. Don't you remember that a couple of celebrities have been busted in the latest kiddie porn sting?
People that deal in child porn are not bright (they are also sick, soulless individuals, but that is another story). Like many people who break the law by sharing illegal files on P2P servers, they may actually believe that it is totally anonymous (just like people who post AC on this forum ;)).
Spell cheek you've failed me four the last thyme!