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Solving DRM in the BitTorrent Age
An anonymous reader writes "FiringSquad has a new article on DRM in the BitTorrent Age. They argue that the movie industry looking for "perfect DRM" should aim for the printed book model (people still buy books even though they can read them for free at Barnes & Noble). They argue that the missing element is that screenwriters are not marketed by Hollywood in the same way the book industry markets its authors."
In the 1960s, auteurs like Bergman and Antonioni created films with a highly personal stamp, but while their films had some measure of popular success at the time, people today are no longer interested and films mainly function as simple mindless entertainment. I don't think that the average movie-goer cares about screenwriters--and studios often subject a script to rewrites that take it far away from the screenwriter's original intent--they just want a few laughs, the proverbial roller-coaster ride of suspense, or a heartwarming love story, and why pay for that if it's on Bittorrent?
You can print out the free book from the net...but its on Printer paper, it's 250 - 400 sheets, and you have to fold and bind it.
Copying a movie or music onto a disk and playing it on your home theatre, stereo, computer, is exactly what you would be doing if you paid for it.
Interesting thought - but not a valid comparison.
Solving DRM in the BitTorrent Age
The only DRM that works is having movies that are large enough, that most people won't want to spend the time downloading them. (i.e. 24gb HD-DVDs.)
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Print Version - all on one page, less clutter
How about original, quality stuff for a change?
There are so many movies out there that I do not care about, but if it's a movie I really like, I will go out and buy the DVD.
Ditto for a book - if it's good, I will go ahead and buy it.
And people with tastes different than mine will do the same for books and movies.
The advantage of a book is that most books are quite cheap (well, unless you are looking for a specific one in a narrow area, say something by Springer Verlag or something).
Movie DVDs are getting there, but music is far, far away. That is the problem. And the signal to noise is terrible for music - so much crap out there.
And finally, I can do anything I want with my book - photocopy it, scan the pages, rip it - whatever the hell I want.
The music and movie industry is trying to stop me from doing just that - and that is the heart of the problem.
IMHO and all that.
But the media cartels will still probably need another 5 years to get it.
And the funny thing is: if they ever end up developing a really hard to break DRM or copy protection scheme it won't really succeed in most of the world. Technology in emerging economies (such as Brazil, Russia, India and China) only gets widespread usage when their copy protection is broken.
As a brazilian gamer I used to track down PlayStation 2 adoption around here. PS2 only got mainstream after pirated games were available. But that doesn't mean Sony lost revenue. It didn't. If the copy protection had never been broken, PS2 would've never succeeded around here.
In the end, DRM only hurts those that try to play by the rules (well, at least until they get tired if being abused and get their [pirated] goodies for free).
Haven't you heard the joke? "Did you hear about the Polish starlet? She was so dumb, she slept with the writer."
Hollywood pays writers very well compared to non-film jobs, but also treats them like dirt and screws them over at the drop of a hat. They're well below actors, directors, and producers on the Talent Totem Pole. Here's an easy way to confirm for yourself how little heed Hollywood pays writers: Without looking at the IMDB, name any writer who has won an Academy Award (other than Peter Jackson) for best original or Adapted Screenplay. Get one and you're probably doing better than 99% of the movie-viewing public.
Or to put it another way: We'll see Hollywood start promoting writers right after they stop making films based on TV shows or video games.
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http://www.lawrenceperson.com/
The librarians of the world would like to teach the submitter something.
This article ignores the detail that the people who get their hands on cracking tools, or get their hands on drm-free versions of movies are enjoying a higher quality user experience than those people using legally purchased movies/music. I've heard several accounts of having to fiddle with the connections, or turning the power off and back on again just to get the player to handshake correctly with the TV or to reset the correct in-memory keys. There are also frequent issues with players/tv downsampling video even if everything should be working at the highest possible quality. The article really misses the point that DRM is becoming a cause for piracy rather than a side effect of it.
- Nobody would know what RTFA meant if it didn't need to be said all the time
1. Screenplays are fundamentally different animals than novels. They're written to be the blueprint for a movie, not something to be enjoyed in their own right. This isn't to say that a screenplay can't be enjoyable to read, but you're never* going to read a screenplay for enjoyment unless you've already seen the movie it was made into -- because if a screenplay was good enough to sell copies of it to the public, then it was more or less by definition already made into a movie.
2. Screenwriters can't be marketed by Hollywood the same way novel authors are marketed -- for one thing, the screenwriter is one of dozens, maybe hundreds of people involved in the movie's production. Even if you just consider the 10 or 15 most important people -- director, a few stars, a producer or two, writer, DP -- the money is going to focus on promoting the biggest names, and that's the stars (and maybe the director). Stars are always the most well-known people involved with a movie, and that's not just because that's who the studio markets; it's because you stare at their faces for 2 hours.
An author, by contrast, is one of only a very few people involved with the creative aspects of a novel -- even if you take an editor or two into account, the author is still responsible for 99% of what you read. So there's a single, obvious focus for the marketing effort.
"Destroy science and religion. Science would re-emerge exactly the same; but not religion." - Penn Jillette, paraphrased
Magic? Enjoy? The books should have been digitized like 30 years ago, and e-books are at least 5 years overdue. Thanks to copyright being infinity minus one day, some books are almost impossible to find. My personal grudge is that many great old textbooks are prohibitively expensive simply because they are rare. No one is printing them anymore, and no one is allowed to digitize them either. Enjoy? I don't think so.
And for the love of me, I have no idea how to comment on his screenwriter theme. Yeah, there are other people working behind the curtains. But if movie people themselves think that the most important and creative part is done by the actors and the director, are they going to lie to the rest of us? That makes no sense at all.
"Let's make movies hard to copy like books are hard to copy, because you don't see much piracy in books, do ya?"
One day, hopefully soon, this whole concept of scarcity of information will just vanish.
For one, the fact that you can read a book at Barnes and Noble for free is more of a marketing strategy than just a convenience. Unless you intend to come back every day for X days to keep reading the book, you're most likely going to buy it. I doubt anyone could read an entire book during a visit to a bookstore like Barnes and Noble.
However, when it comes to movies, you're talking about a solid one to two hour viewing. If Blockbuster worked like Barnes and Noble, they'd have little to no rentals or purchases - people would watch a movie and leave.
But anyway, back to the topic. It's doubtful that any DRM will work swimmingly with BitTorrent, simply because the method with which you activate the DRM/authenticate the movie would most likely be transferred in the torrent. (Like Windows XP, you can just hand off the CD key with the ISO.)
I can see an effective DRM being an IP-based solution. For instance, a client would have the movie file downloaded and the player for that file would contact a central server for a one-time key. If the client's IP doesn't match, then no key is issued. But this has its downside as well (Dial-up and dynamic IPs... although if you're downloading at those speeds, just buy the damn DVD.)
DRM is a useless trend, just like SOA and 'Web x.0' and all the other buzzwords (People put DRM on podcasts, for Christ's sake). Give it time and it will die.
Firstly, as far as I can tell the PS2 were not stolen, were not copied with cheap tawainess ship, they were bought from Sony. So.... This revenue WOULD NOT HAVE existed at all without the piracy boom in Brazil.
What they lost is a POTENTIAL sale of game. If people pirate 20 games, buy 3, it is still 3 bought AND NOT 20 LOSS. If people were going in supermarket and hammering/stealing/crushing those 20 PS2 game this would be a loss. But what you describe isn't that. There has been NO REAL LOSS FOR SONY. Hammer that in your head. A copyright infringement is at best a POTENTIAL LOSS, but not a real. CAse in point, if everybody on earth was copying FFIX and sony would still have done the same sale in the past, then they would STILL BE WRITING THE SAME NUMBER AT THE END OF THEIR FISCAL Q.
I do not condone copyright infrigement, but NEITHER DO I CONDONE BAD RETHORIC ON "FANTASY LOSSES".
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I thought bittorrent WAS the solution to DRM.
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but, why is it when anyone mentions free reading, it's never about libraries anymore? It's all about Borders/Barnes & Noble/etc.
Break out of the marketing and go to a library where, for once, you can't buy anything.
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Except that even the lightest DRM will keep honest people honest. For that matter, since honest people are, by definition, honest, a complete lack of DRM will also keep honest people honest equally well, and fairly light-duty DRM will also keep mostly-honest people honest just as well as the most restrictive DRM would.
Thus, the continued constriction of DRM serves only two real purposes: to cause problems for honest people and to help create an artificial boogeyman to distract people from the real revenue problem in Hollywood: current movies suck.
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What makes DRM so worthless isn't some technical, legal, or user experience problem. The problem with DRM is that it addresses the wrong issue altogether. DRM tries to answer the question, "how can I stop LOSING money because of copying?" The right question should be, "how can I start MAKING money using copying?"
People are going to be making digital copies of stuff with the Internet because that is what the Internet is: a vast digitial distribution machine. Copying and hyperlinking aren't "problems" to be solved, they are facts of online life. How can artists and distributors and publishers use these facts to their advantage?
Google has certainly shown one way to make money from the web. And no, it's not by advertising. That's merely one way of making money. The real mother lode is in LINKING. Google makes money by bringing buyers together with sellers right at the point where the buyer has pre-qualified themselves. Any time you can do that, you can make money -- lots of it.
Things to note here:
1. It is in Google's interest to provide real value to the customer in clear exchange for the right to lead them to a commercial link.
2. It is in Google's interest to be completely up-front about which links are commercial and which ones are not.
3. It is in Google's interest to only offer commercial links that are as closely-related as possible to what the customer appears to be looking for.
Let's apply these lessons to the music industry. Imagine a large copyright holder having every song in its catalog available on a web site. Visitors can listen to samples of each and every track -- good samples that give a true feel for the music, not just some arbitrary clip such as the first 30 seconds. A search engine helps people find not just the big, popular numbers, but other interesting pieces that are related. "If you like this artist, have you tried these three others? People who have listened to this track have listened to these 10 others. Here is a list of every track of every album that features this drummer."
Every opportunity to share information about music, artists, and compilations is an opportunity to offer a tangible product or service to sell. The web site has clearly marked commercial links to buy physical media, purchase the track, add the track to a mix CD, purchase concert tickets, get a t-shirt, subscribe to a download service. It also has non-commercial links to share what the user has discovered with others. "Hey, listen to this track. It's awesome."
There is a lot of money to be made here. DRM is a distraction. It's leaving money on the table, and one of these days some smart music exec is going to wake up and leave the rest of the competition in the dust.
"We receive as friendly that which agrees with, we resist with dislike that which opposes us" - Faraday
At the moment, typical home-bandwith is perhaps 1Mbps. Typical home-storage is perhaps 300GB. Which means (order of magnitude-estimates)
Which means for most people, bandwith and storage is a limiting factor for the last few of these options. (depending on patience) High-def movies migth add another order of magnitude size, so we're up to a week of downloading and you can store like 5-10 of them, which is definitely way into impractical-land.
But that's all today. Bandwith and storage grows exponentially, and though 1Mbps may be *typical* even today a significant (and rapidly growing) part of the population has a lot more.
Lyse, my ISP have stopped *offering* speeds lower than 6Mbps. Their top offering currently is 50Mbps. Which brings the high-def movie in original (blueray/HD-DVD) quality back down from a week and to 4 hours.
I expect 100Mbps to be the norm in my neighbourhood before the decade is out. The infrastructure is certianly already there, the only reason it's not the norm today is that few care for it. For 99% of the users today, 6Mbps (symetrical, same upload!) is adequate enough that they have no interest even in the "premium" 50Mbps offered for a modestly higher price.
Already today, people are downloading albums rathe than songs. And to some degree complete discographies rather than albums. And books are tiny compared to music.
We're only a short way away from being able to in effect say: "Screw it, I don't know yet what I want to read on the plane, let's just download 'all_books_published_in_the_usa_this_decade.zip' and put it on the reader, that's only a few TB anyway."
Just how large would "all_movies_ever_shown_in_an_american_theatre-dvdr ip.zip" be anyway ? How many years away from being able to download that in say a day are we ? How are the *AAs going to deal with it ?
We live in interesting times.
Just make movies cheaper so that people can't be bothered to pirate them. This works especially well with HD films which take days/weeks to download.
If I could buy the film I want in HD for £3-£5 ($6-$10) and get it the next day, I'm hardly likely to bother downloading a 20GB torrent link am I?
Unfortunately even SD DVDs cost a ridiculous amount of money here in the UK and I don't see why I should spend £15 ($30) on a DVD when I can rent it for £3 in a few months time. I rarely watch the same film several times before it's shown anyway on sat/cable.
I don't agree though. Most devices I've seen also suffer from one or more of the following:
Ok, so maybe these don't matter to you, and are all trumped by bookmarks. But I'd be willing to pay quite a bit for a device without these problems, and I *have* been deliberately searching, with no luck whatsoever this far.