DRM — It's Not Really About Piracy

shadowmage13 writes "Hollywood privately admits that DRM is not really about piracy. From the article: 'In a nutshell: DRM's sole purpose is to maximize revenues by minimizing your rights so that they can sell them back to you... Like all lies, there comes a point when the gig is up; the ruse is busted. For the movie studios, it's the moment they have to admit that it's not the piracy that worries them, but business models which don't squeeze every last cent out of customers.' You can take action on Digital Restrictions Management at DefectiveByDesign of the Free Software Foundation, Digital Freedom, and the Electronic Frontier Foundation."

Comments

Like Region Coding, Then

[cyclomedia]

Because THAT worked wonders for release timing, content control and market restrictions, didn't it.*

*Though having a decent TV that can handle PAL and NTSC helps, in the UK they're 6 bob a throw i can tell ye!

Re:Like Region Coding, Then

[arun_s]

When I look at the VHS examples of long back, and the more recent DVD-region-encoding failure, it just looks like one big, sad cycle repeating itself every generation or so.
Even if we get over the current mess (Trusted Computing, RIAA etc), it looks like as if the big media dinosaurs will never really learn to adapt. Each time a new technology pops up that threatens their stable position, they panic immediately and create a huge fuss in trying to maintain the staus quo.
If only they weren't so powerful already, they'd probably have died off by now; replaced by smarter, quicker companies that didn't have to be dragged kicking and screaming into the new world.

Re:Like Region Coding, Then

[Total_Wimp]

This is insightful. In addition to the big funding, quality at the user level is also an issue. The 19 inch boxes in many home sjust wont cut it for a movie with a grand vision. Lots of people can't afford nice home theater setups, but they can spend 10 bucks to see a movie at the local cineplex. As soon as a viewing venue with limited supply comes into play(the movie theater) then distribution becomes an issue.

Though it's true that wide distribution over the internet could theoretically drive movie theaters to show an idie film, the actual practice is that distribution is difficult, even if you assume theaters are open to talking with anyone (not likely). Even if an indie film made enough money in home distribution to give theaters reason to believe they'd have a good audience, proper negotiation channels just don't exist between an indie film maker and the massive number of theaters in the country, or world even. The indie film has to partner with someone big enough to ensure the film will get a wide release.

The internet doesn't help in this environment. With such an important distribution channel locked up tight by the big guys, the movie maker who decides to avoid the big companies will miss out on about half of his revenue stream. Considering how hard it is for movies to make money (most films are not "Star Wars"), this kind of a loss is a real problem.

Music is a little different because bands control performances and the internet is a perfect distribution channel that doesn't require a big label. But how will people know the band exists and that new music is available? How are people going to find out what this new band sounds like? Podcasts exist now, and internet radio over wireless is at least a possibility, but which ones are the big podcasts or internet radio stations that large numbers of people listen to?

If you want to reach an audience larger than the neighborhood bars, you need your music to be heard by large numbers of people. Although that can happen virally, viral word of mouth only works for a small number of bands and songs at a time and only really works at all for people who have buddies who like to pester them about music. If you want to get the word out about your band, you have to go to an outlet that's popular enough that lots of people will listen to it. Whatever outlet becomes becomes most popular becomes a bottleneck. Whenever a bottleneck exists, large companies are going to try to, and will usually succeed in controlling it, just like they do with radio stations now.

Once again, a band certainly could go it alone, and I applaud those that do, but not being able to get that large listening audience is going to keep most small bands small. It will mean that labels will be able to continue to offer a very compelling service, for a very steep price, if a band wants to hit it big.

As long as you have scarcity and revenue, you'll have big companies trying, and largely succeeding, in controlling the two. I think indies can become much larger than they are now thanks to the internet, but it's highly unlikely they'll become the dominant source of entertainment.

TW

Mirrors my views exactly

[grimJester]

DRM is meant to prevent interoperability, raise barriers for entry to markets and force "upgrades" of your media when playback devices are upgraded.

Just look at iTunes; you can burn the music to CDs and rip to mp3. This is no copy protection - only a mild barrier to make it more likely that the average customer does _not_ buy another brand of mp3 player.

As others have pointed out, the article headline is misleading. Hollywood won't admit any such thing.

Re:RTFA?

[Professor_UNIX]

MPAA executives have never admitted that piracy isn't the motivation for DRM. The current generation will never admit that: piracy is their excuse and they will stick to it. DRM is part of their business model and it won't go anywhere until it results in a shareholder-awakening loss of money.

I'm less concerned with piracy and more concerned with the death of the used movie and music market. With DRM, how am I supposed to resell music that I've purchased to the local place that used to buy my used CDs when I was sick of them? How do I sell my DVDs when I'm tired of watching that movie? I've paid either nearly full or even full price for the movie or music, yet I've lost the right to resell the content in the secondary market? Will the studio or record company unlock that content from its DRM chains so that I can resell it upon request?

Re:Bias

[richie2000]

Hollywood hasn't admitted anything of the sort "DRMs' primary role is not about keeping copyrighted content off P2P networks. DRMs support an orderly market for facilitating efficient economic transactions between content producers and content consumers. "
Dan Glickman, Motion Picture Association of America

Power to the artists???

[Merkwurdigeliebe]

Well, let's take out the recording and movie making industries, and now let us imagine that everyone who produces or would produce media can do so and does do so by themselves (without industry intermediaries.) Then imagine that there be a system that allowed the publishing artist to exactly and precisely control how their content was used and or was available so that the publishing artist could revoke something they put out there but for whatever reason now regret. What would be wrong with that? It would be total control in the hand of an artist. Afterall, it is their work. Why not give them ultimate control?

Imagine an idiot posts something he or she later regrets to the web. It's foreseable that some of them would wish to recall/revoke/delete what they posted to the Internet. Today there is no way to put the "genie" back inthe bottle. If there were a total artist control type of rights management this idiot could retrieve (forever extinghuish the existence) the now-regrettable work posted to the Internet.

Let's say that the audience never had ownership but simply could make micropayments (in the case of for profit works --not the stuff posted to the internet for free --that would still be free but still bound by the total rights management system) to listen or see content. That could be say for a one-off experience of for a bulk experience. What would be wrong with such a scenario? (that is if controlled by each artist themselves?) No industry to deride and loathe. Only artists with infinite control over their works. If the artist were to die then it could be had that all their content die too.

Would that be too much control in the artists' hands? It'd be like it was before technology, in the sense that the artist'd control all aspects of their fruits. Their fruits lived and died with them. the audience never had ownership of the artists' work. They only had the pleasure and priviledge to listen, see and enjoy in the moment.

I could further imagine that an artist could forgo their rights if they so desired. Or the rights to work not recalled/revoked could pass into public domain, etc. There could be a great number of permutations

an idea....

Re:Power to the artists???

[geminidomino]

Would that be too much control in the artists' hands? It'd be like it was before technology, in the sense that the artist'd control all aspects of their fruits. Their fruits lived and died with them. the audience never had ownership of the artists' work. They only had the pleasure and priviledge to listen, see and enjoy in the moment.

Art != Music (Whether or not music, especially contemporary music, is even a subset of art is a matter of opinion). Some of the greatest works of art in history were done 'for hire'.

Unless you want to see an end to persistent recordings, you're advocating the same sort of BS "have thier cake and eat it too" setup we have now, except instead of some industry suits reaping the cash, it's the artist himself. If I buy a painting, I expect the right to put it on my bathroom wall, wipe my mouth on it, or have my picture taken in front of it. Same for a recording. If I want to listen to it in my cd-less car stereo, on my Neuros, or on my GP2X, I'm going to. I expect to control my own purchase.

Correction: Spin, It was about piracy by the ....

[OldHawk777]

It was about real piracy, by the media industry and government, to rape human rights and pillage bank accounts of the unrepresented pitiful defenseless public.

OK more spin for US, EU, UN them; All megalomania persons in industry, government, and religion demand a semiliterate servile exploitable public or at least an oppressed fearful culture of hostages suffering with mass-hysteria Stockholm syndrome (identifying with the oppressors as good, fair, and reasonable).