Slashdot Mirror
Macrovision Wants Old DRM to Work Forever
Grv writes "Macrovision's best-known form of copy protection inserts noise into analog video signals to make it difficult to get a good copy of the DVD or VHS recording. A company named Sima has products that eliminate this noise when digitizing such video, as any good digitizer would do. Macrovision argues that this is a violation of the DMCA, and a court sided with them in June. Now the injunction is being reviewed, and several organizations are siding with Sima and Fair Use, including the American Library Association, the Consumer Electronics Association, the Home Recording Rights Coalition, and the Electronic Frontier Foundation. If it isn't overturned, this decision could make it illegal to develop products for making copies of commercial analog recordings."
This story selected and edited by LinuxWorld editor for the day Saied Pinto.
If these are analog signals, does the DMCA apply here? Is cleaning noise out of a signal considered "hacking" now?
"Wanna watch Erik The Viking?"
"Can't. It would be a violation of the law."
"What Law?"
"The one that prevents us from taking the old video tape I bought of it, which I can no longer watch on newer video devices due to built in DRM and I am prevented from recording onto a computer and removing the old DRM and writing to digital storage which the new digital video devices read."
"Man, obeying the law sucks!"
"No, creating laws which paint people into a corner and then hand them the brush suck."
Ultimately, the way DRM and DMCA is going, you will not have owned DVDs, CDs, LPs, 45s, etc. You will merely have rented them until the march of technology locks you out of enjoying the content any further.
A feeling of having made the same mistake before: Deja Foobar
"How we feel" is the central tenet of a democratic society. If a law is unjust, it is our duty to defy it.
:)
As long as you are willing to face the consequences of such actions, yes. Defy away; however, a more reasonable and responsible citizen might suggest that if a law is believed to be unjust, they have a duty to try and get it overturned through legal and ethical means first. If that doesn't work, then I think you have a tea party
"What do you despise? By this are you truly known." --Princess Irulan, Manual of Muad'Dib
/)
I have nothing against the content producers making financial gain from their efforts. In fact, I work for a company that makes a considerable amount of money licensing code to third parties. I'm well aware of the situation that copyright creates, and I'm all for ownership of intellectual property.
That said, ownership is a two way street. I exchange my ownership of the code I produce for the salary my company pays me. I consider it a fair deal - I work a given number of hours in exchange for a one time payment. Once I've cashed the check (before, actually), I no longer own the code that I write. I have no problem with this arrangement. Whether my company sells one copy or a million makes no difference to me, because I've already been paid for the work I did. If the company can't sell my code, well, that's their loss, not mine. Or, if they are obscenely profitable, that's their gain. After all, they bought my code, and they own it. For them to make obscene profits does not impose any additional work burden on me.
However, the movie industry is actively opposed to intellectual property. When you buy a movie from them, they take your money, yet behave as if both the money and the movie are still theirs. You see, they don't believe in property. When you sell a piece of property, you give up any and all claim to the property. The movie industry's idea of a sale is more like an indefinite lease - you get to have a copy of the content for as long as it suits the studio. They feel that if they are not making enough money, they have the right to charge you time and again for the same material. (i.e. new movie on DVD instead of VHS, the "director's cut" version, etc...)
And you are supposed to like it. You pay for the DVD, but you don't own it:
Granted, I know there are ways around all of these, but they are not easy to come by, and require a technical aptitude beyond what the average user will possess. In effect, the studios are "Indian givers" - they aren't satisfied with either your money or the movie - they want them both.
Which, I think is one of the key reasons why I seldom buy movies anymore. It just doesn't seem right to give money to someone whose stated purpose is to explicitly rip off their customers, and goes to great length to defend the practice .
The society for a thought-free internet welcomes you.
Basically this was sold as a way to prevent anyone from using two VCRs to copy a rented videotape. It (Macrovision) was placed on most commercial videos of Hollywood product from the mid-1980s to the present. Since the 'owner' of the video content had to pay a stiff license fee to Macrovision company, almost no porn tapes from that era had this nonsense added.
Macrovision is a burst of noise added to the vertical sync in the brief period after the current frame has ended and the next frame (a single 'photograph' or still image on the television set) begins. This burst of noise happened about once every ten to fifteen seconds. It caused the picture image to lose sync and 'roll' and/or 'tear up' for a short period of time until the vertical sync stabilization circuitry in the recording process
kicked in and made the picture stable.
This is how Macrovision was able to mess up the video copy without destroying the video integrity when watching the original commercial video tape. The sync stablizer circuitry only was active during the recording period, not during playback. But the video copy was polluted by tearing and rolling every ten seconds or so.
The way to defeat this pollution was/is to use an 1881 sync seperator IC, a track-and-hold circuit, a 4053-type analog 1-of-2 switch IC, and a timer on a microcontroller (or a 555 one-shot timer IC). Use the sync seperator to detect the beginning of the vertical sync pulse. At this time, sample the black video level using the track-and-hold. After sampling, switch the video signal to the recorder (for the content being copied) to the sampled black level for the period before the actual video image analog signal begins. Then switch the recording back to the analog video signal of the original. Your copy will be solid and without tearing and rolling.
Oh my goodness!?! Did I just break your fucking law by explaining this? Oh my, I am sooooooo sorry! Oh well, to quote Emil Faber, "Knowledge Is Good". That's from the first video that I thought was worth copying.
Comment removed based on user account deletion
Your company isn't paying you for just a single copy of your code - they are paying you to assign them the copyright, so they can make as many copies as they like.
It would certainly be possible for you to pay to media companies to assign the copyright to you, but it would cost a lot more then $15.
The fact that you got modded +5 insightful only illustrates how difficult it is to sort out intelectual property owernship issues. Almost all analogies made with cars or computers or whatever people tend to come up with don't work - this is a different beast and as a society we haven't figured out yet how to deal with the problem of something as essential as culture being a commercial product at the same time. Perhaps our culture isn't all it is drummed up to be?
Comment removed based on user account deletion
Wow, I can't believe it took this long for someone who actually knows what they're talking about to post! You're right, Macrovision messes with the AGC--you can see the "pulses" outside the legal range on a waveform monitor.
Now, the really troubling point in all this to me is that a time base corrector, without which you can't edit analog tapes, removes macrovision as a matter of course. How are the courts going to "protect" macrovision without making time-base correctors illegal? And if time-base correctors are legal, then all Sima needs to do is start marketing time-base correctors.
It's just crap in the vertical retrace interval. The VCR doesn't lose sync, but since the noise exceeds the normal signal level it causes the AGC to reduce the gain, thereby making the picture go dim. If you did not know any better, then you might suppose it to be a mere artefact from the mass-production process {since it is conspicuously absent from home recordings}. If you shorten the AGC time constant on the recording VCR {by unsoldering one capacitor} you won't get the dimming effect. You can also use an op-amp hard limiter circuit {similar to those cheesy guitar distortion pedals everyone was building in the 1980s} to clamp the spikes.
A more thorough way of defeating Macrovision is to use a 1881 sync separator, 4066 quad bilateral switch and some assorted logic ICs {or a microcontroller}. You need to discard about 30 lines from the top of each field, clamping them to no more than 0V but pulling them down to -0.3V with the line sync pulses. If you can manage to leave in the colour subcarrier burst, then so much the better.
As long as you're making fair use of material, which you have an inalienable right to do, then the use of an electronic circuit to remove this copy protection would be classified as Reasonable Force in pursuit of your Statutory Rights.
Je fume. Tu fumes. Nous fûmes!