Obtaining multiple unresolved copyright complaints on a YouTube account can prove fatal to those who rely on the platform to make a living.

For those obtaining “three strikes”, it can mean the closure of an entire channel and along with it, access to potentially hundreds of otherwise revenue-generating videos.

Back in January, it was reported that a YouTuber known as ‘Obbyraidz’, who focuses on Minecraft content, was having this system turned against him.

After receiving two bogus strikes against his account, he took to Twitter to complain that he was being extorted by a scammer identifying as ‘Vengeful Flame’, who threatened a third and debilitating strike unless money was paid via PayPal or bitcoin.

A second YouTuber, known online as ‘Kenzo’ was also given similar treatment, with the scammer demanding money not to file complaints that could terminate his account.

Now, however, the tables are being turned after YouTube itself filed a complaint in federal court against Nebraska-resident Christopher Brady, the person who allegedly attempted to defraud both Obbyraidz and Kenzo.

“Defendant, Christopher L. Brady (‘Brady’), has repeatedly attempted to harass and extort money from YouTube content creators through bogus allegations of copyright infringement,” the complaint filed Monday begins.

“This lawsuit seeks to hold him accountable for that misconduct, and for the damage he has caused to YouTube.”

Detailing the DMCA takedown process in general and noting that notices can be used “maliciously to secure the removal of content that was not legitimately claimed to be infringing”, YouTube states it’s in a position to bring an action against a sender of bogus notices for damages.

“This is such an action,” the complaint reads.

According to YouTube, Brady sent the video platform dozens of DMCA notices falsely claiming that content posted by YouTube users infringed his supposed copyrights. He did this as part of a scheme to “harass and extort” innocent users, YouTube continues, in order to pressure them into payment and the avoidance of account closures.

Citing the work of three YouTubers – Obbyraidz, Kenzo and Cxlvxn – YouTube notes that between them they have uploaded around 1,000 videos related to video gaming. All are members of the YouTube Partner program, earning revenue from their work.

Brady allegedly targeted Kenzo and Obbyraidz “among others” by sending false DMCA notices to YouTube, claiming that he was the original creator of their videos, certifying as much “under penalty of perjury.” YouTube said it acted on these false claims, removing the videos.

However, when Kenzo and Obbyraidz went public with the extortion attempts, YouTube launched an investigation, restored the videos, and removed the strikes against their accounts.

The complaint alleges that in June and July 2019, Brady sent four more fraudulent notices, this time targeting Cxlvxn. However, this appears to have been an attempt to have Cxlvxn file a DMCA counter-notification, something that exposed his home address to Brady.

On July 10, 2019, six days after the counter-notification was filed, Cxlvxn reported he’d been ‘swatted’, something which YouTube describes as “the act of making a bogus call to emergency services in an attempt to bring about the dispatch of a large number of armed police officers to a particular address.” YouTube believes Brady was responsible.

As a result of the above actions, YouTube states that Brady is responsible for violations of 17 U.S.C. § 512(f). The company says it successfully traced back at least 15 online identities to the man, an investigation which caused it to expend “substantial sums” in an effort to bring the behavior to a halt.

The company is demanding preliminary and permanent injunctions against Brady, compensation to be decided at trial, costs, attorneys fees, and any further relief the court deems proper.

The YouTube complaint filed in Nebraska can be downloaded here (pdf)

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This week we have three newcomers in our chart.

Aladdin is the most downloaded movie.

The data for our weekly download chart is estimated by TorrentFreak, and is for informational and educational reference only. All the movies in the list are Web-DL/Webrip/HDRip/BDrip/DVDrip unless stated otherwise.

RSS feed for the articles of the recent weekly movie download charts.

This week’s most downloaded movies are:
Movie Rank Rank last week Movie name IMDb Rating / Trailer
Most downloaded movies via torrents
1 (1) Aladdin 7.3 / trailer
2 (8) Godzilla: King of the Monsters 6.5 / trailer
3 (3) Avengers: Endgame 8.7 / trailer
4 (2) The Hustle 5.3 / trailer
5 (…) The Secret Life of Pets 2 6.5 / trailer
6 (5) Rocketman 7.6 / trailer
7 (4) Brightburn 6.2 / trailer
8 (…) Ma 5.8 / trailer
9 (…) John Wick: Chapter 3 – Parabellum 7.8 / trailer
10 10) Shazam! 7.3 / trailer

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As the use of unlicensed IPTV services continues to gain popularity with consumers around the world, content owners and broadcasters are faced with a growing illicit market to disrupt.

As a result, copyright infringement and similar lawsuits against ‘pirate’ IPTV providers are definitely on the rise, with US-based broadcaster DISH Network at the forefront.

This week, DISH filed another lawsuit in the United States, this time targeting ‘pirate’ IPTV provider Easybox IPTV. This ‘company’ (the term is used loosely, given the unknown structure of the operation) appears not dissimilar to several others previously targeted by the broadcaster.

The model adopted by Easybox suggests the outfit primarily targets less experienced IPTV users, something that’s supported by the operation offering ready-configured (aka ‘fully-loaded’) devices as well as add-on subscription packages.

Part of the Easybox IPTV offering

The DISH lawsuit, filed in a Texas federal court, list DOES 1-5 individually and collectively doing business as Easybox IPTV. DISH doesn’t appear to know the identities of the people it’s suing but has concluded they may be from China.

The broadcaster says that historical WHOIS records for the service’s domain name suggest a China base while delivery time for devices sent to China is much quicker than those sent to the United States.

At issue are DISH’s ‘protected channels’, i.e those it supplies as a result of licensing agreements obtained from various TV networks. These allow the company to “distribute and publicly perform” in the United States “by means including satellite, OTT, Internet protocol television (‘IPTV’), and Internet.”

Easybox IPTV’s service, which offers “more than 1,000 channels” to its subscribers, includes the ‘protected channels’, a breach of the broadcaster’s rights, according to DISH.

“Defendants use their Easybox Service to transmit the Protected Channels over the Internet to Service Users soon after the original authorized transmission,” the complaint reads.

“Defendants capture live broadcast signals of the Protected Channels, transcode these signals into a format useful for streaming over the Internet, transfer the transcoded content to one or more servers provided, controlled, and maintained by Defendants, and then transmit the Protected Channels to Service Users through OTT delivery.”

An interesting element to the case are the efforts expended by DISH, in advance of this lawsuit, in order to get Easybox to cease-and-desist its activities. According to the broadcaster, since January 27, 2016, DISH and its partners sent at least 116 infringement notices, all of which were ignored.

“Instead [of responding], Defendants prevented DISH’s counsel from viewing Easybox.tv by blocking their Internet Protocol (‘IP’) addresses,” the complaint adds.

On top of the direct notices, from February 8, 2016, more than 170 additional complaints were sent to CDNs associated with the Easybox service. DISH believes at least some of these were forwarded to the IPTV provider since it later countered by switching to different CDN providers.

All that considered, DISH is demanding a permanent injunction against Easybox (and anyone acting in concert with it) preventing it from “transmitting, streaming, distributing, or publicly performing in the United States, with any Easybox set-top box, smart IPTV subscription, subscription renewal, or any other device, application, service, or process, any of the Protected Channels or any of the programming that comprises any of the Protected Channels.”

DISH also seeks a ban on the distribution, sale, promotion or advertising of Easybox services and/or devices, including any inducement for others to carry out the same.

In addition, it requests statutory damages for 67 or more registered works at the rate of $150,000 each (more than $10 million) plus any profits generated by Easybox due to the infringement of non-registered works.

The DISH complaint against Easybox can be downloaded here (pdf)

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Sci-Hub has often been referred to as “The Pirate Bay of Science,” but that description really sells the site short.

While both sites are helping the public to access copyrighted content without permission, Sci-Hub has also become a crucial tool that arguably helps the progress of science.

The site allows researchers to bypass expensive paywalls so they can read articles written by their fellow colleagues. The information in these ‘pirated’ articles is then used to provide the foundation for future research.

What the site does is not permitted, according to the law, but in the academic world, Sci-Hub is praised by many. In particular, those who don’t have direct access to expensive journals but aspire to excel in their academic field.

This leads to a rather intriguing situation where many of the ‘creators,’ the people who write academic articles, are openly supporting the site. By doing so, they go directly against the major publishers, including the billion-dollar company Elsevier, which are the rightsholders.

Elsevier previously convinced the courts that Sci-Hub is a force of evil. Many scientists, however, see it as an extremely useful tool. This was illustrated once again by a ‘letter to the editor’ Dr. Prasanna R Deshpande sent to the Journal of Health & Allied Sciences recently.

While Deshpande works at the Department of Clinical Pharmacy at Poona College of Pharmacy, his latest writing is entirely dedicated to copyright and Sci-Hub. In his published letter (no paywall), the researcher explains why a site such as Sci-Hub is important for the scientific community as a whole.

The Indian researcher points out that Sci-Hub’s main advantage is that it’s free of charge. This is particularly important for academics in developing countries, who otherwise don’t have the means to access crucial articles. Sci-Hub actually allows these people to carry out better research.

“A researcher generally has to pay some money ($30 or more per article on an average) for accessing the scholarly articles. However, the amount may not be ‘small’ for a researcher/research scholar, especially from a developing country,” Deshpande notes.

Aside from the cost issue, Sci-hub is often seen as more convenient as well. Many professors use the site and a recent survey found that it’s used to conduct research by 62.5% of all medical students across six countries in Latin America.

According to Deshpande, these and other arguments lead to the conclusion that Sci-Hub should be supported, at least until there is a good alternative.

“Reading updated knowledge is one of the essential parts of lifelong learning. Currently, Sci‑Hub is the only answer for this. Therefore, Sci‑Hub has various advantages because of which it should be supported,”
Deshpande concludes.

This is of course just the opinion of one researcher, but the web is riddled with similar examples. A simple Twitter search shows that many academics are sharing Sci-Hub links among each other, and some have even created dedicated websites to show some of the latest working Sci-Hub mirrors.

The major publishers are obviously not happy with this. Aside from lawsuits against Sci-Hub, they regularly send takedown notices to sites that link to infringing articles, including Google.

Recently Elsevier took it a step further by going after Citationsy, a tool that allows academics and researchers to manage citations and reference lists. The service previously published a blog post summing up some options for people to download free research articles.

This blog post also linked to Sci-Hub. Elsevier clearly didn’t like this, and sent its lawyer after Citationsy, requesting it to remove the link.

Citantionsy founder Cenk Özbakır initially wasn’t sure how to respond. Linking to a website isn’t necessarily copyright infringement. However, challenging a multi-billion dollar company on an issue like this is a battle that’s hard to win.

Eventually, Özbakır decided to remove it, pointing to a Google search instead. However, not without being rather critical of the move by Elsevier and its law firm Bird & Bird.

“I have of course taken down any links to Sci-Hub on Citationsy.com. @ElsevierLabs obviously thinks making money is more important than furthering science. Congratulations, @twobirds! We all now that the only thing this will achieve is less people reading papers,” Özbakır wrote on Twitter.

The ‘linking’ issue was later picked up by BoingBoing which also pointed out that many of Elsevier’s own publications include links to Sci-Hub, as we also highlighted in the past.

While not all researchers are unanimously backing Sci-Hub, it appears that this type of enforcement may not be the best way forward.

Pressuring people with cease and desist notices, filing lawsuits, and sending takedown notices certainly isn’t sustainable in the long term, especially if they target people in the academic community.

Perhaps Elsevier and other publishers should use the massive popularity of Sci-Hub as a signal that something is clearly wrong with what they are offering. Instead of trying to hide piracy by sweeping it under the rug, Elsevier could learn from it and adapt.

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While copyright holders and many governments see site-blocking as a reasoned and measured response to copyright infringement, some people view it as overkill.

People should be able to access whatever content they want without rich corporations deciding what should and should not appear on computer screens, the argument goes.

For former student Pavel Kopylov, blocking of pirate sites in Russia has gone too far. So, to make his displeasure obvious to Roscomnadzor, the government entity responsible for carrying it out, last year he attempted to burn one of its offices down – three times.

On April 2, 2018, reportedly dissatisfied that his favorite torrent tracker had been blocked, Kopylov went to the local offices of Roscomnadzor,
smashed a window, and threw a bottle of flammable liquid inside together with a burning match. The attempt was a failure – the fire didn’t ignite and a guard was alerted by the noise.

Almost two weeks later, Kopylov returned for a second try. This time a fire did ensue but it was put out, without causing catastrophic damage. A third attempt, on May 9, 2018, ended in complete failure, with a guard catching the would-be arsonist before he could carry out his plan.

Nevertheless, the prosecutor’s office saw the attacks as an attempt to destroy Roscomnadzor’s property by arson, an offense carrying a penalty of up to five years in prison. The prosecution sought two years but in the end, had to settle for considerably less.

Interfax reports that a court in the Ulyanovsk region has now sentenced the man for repeatedly trying to burn down Roscomnadzor’s regional office. He received 18 months probation but the prosecution intends to appeal, describing the sentence as excessively lenient.

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With roughly 22 million subscribers, Charter Communications is one of the largest Internet providers in the US.

The company operates under the Spectrum brand and offers a wide variety of services including TV and Internet access.

In an effort to provide more engaging content to its customers, this week Charter signed a major new distribution agreement with The Walt Disney Company.

The new partnership will provide the telco’s customers with access to popular titles in Disney’s services, including Hulu, ESPN+ and the yet-to-be-launched streaming service Disney+.

The fact that these giant companies have teamed-up is a big deal, business-wise and for consumers. Most Spectrum subscribers will likely be pleased to have more options, but there may also be a subgroup that has concerns.

Away from the major headline, both companies also state that they have agreed to partner up on piracy mitigation.

“This agreement will allow Spectrum to continue delivering to its customers popular Disney content […] and will begin an important collaborative effort to address the significant issue of piracy mitigation,” says Tom Montemagno, EVP, Programming Acquisition for Charter.

The public press releases give no concrete details of what this “piracy mitigation” will entail. It does mention that the two companies will work together to “implement business rules” and address issues such as “unauthorized access and password sharing.”

TorrentFreak reached out to Charter for further details, but the company said that it’s not elaborating beyond the press release at this time.

The term “mitigating” suggests that both companies will actively work together to reduce piracy. This is interesting because Charter is currently caught up in a major piracy liability lawsuit in a US federal court in Colorado.

Earlier this year the Internet provider was sued by several music companies which argued that the company turned a blind eye to piracy by failing to terminate accounts of repeat infringers. In addition, Charter stands accused of willingly profiting from these alleged copyright infringements.

Charter’s new agreement with Disney suggests that there could be a more proactive anti-piracy stance going forward. One possibility might be a more strict repeat infringer policy but, without further details, it remains unclear what the “piracy mitigation” entails precisely.

In any case, it will be interesting to see how the two companies plan to put a dent in current piracy levels, and what that means for Charter customers.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN reviews, discounts, offers and coupons.





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As a CDN and security company, Cloudflare currently serves around 20 million “Internet properties”, ranging from domains and websites through to application programming interfaces (APIs) and mobile applications.

At least hundreds of those properties, potentially more, are considered ‘pirate’ platforms by copyright groups, which has resulted in Cloudflare being sucked into copyright infringement lawsuits due to the activities of its customers.

On Thursday, Cloudflare filed to go public by submitting the required S-1 registration statement. It contains numerous warnings that copyright infringement lawsuits, both current and those that may appear in the future, could present significant issues of liability for the company.

Noting that some of Cloudflare’s customers may use its services in violation of the law, the company states that existing laws relating to the liability of service providers are “highly unsettled and in flux”, both in the United States and further afield.

“For example, we have been named as a defendant in a number of lawsuits, both in the United States and abroad, alleging copyright infringement based on content that is made available through our customers’ websites,” the filing reads.

“There can be no assurance that we will not face similar litigation in the future or that we will prevail in any litigation we may face. An adverse decision in one or more of these lawsuits could materially and adversely affect our business, results of operations, and financial condition.”

Cloudflare goes on to reference the safe harbor provisions of the DMCA, noting that they may not offer “complete protection” for the company or could even be amended in the future to its detriment.

“If we are found not to be protected by the safe harbor provisions of the DMCA, CDA [Communications Decency Act] or other similar laws, or if we are deemed subject to laws in other countries that may not have the same protections or that may impose more onerous obligations on us, we may face claims for substantial damages and our brand, reputation, and financial results may be harmed. Such claims may result in liability that exceeds our ability to pay or our insurance coverage,” Cloudflare warns.

As a global company, it’s not only US law the company has to consider. Cloudflare references the recently-approved Copyright Directive in the EU, noting that also has the potential to expose Cloudflare and other online platforms to liability.

As recently as last month and in advance of any claims under that particular legislation, Cloudflare experienced an adverse ruling in an Italian court. Local broadcaster RTI successfully argued that Cloudflare can be held liable if it willingly fails to act in response to copyright infringement notices. In addition, Cloudflare was ordered to terminate the accounts of several pirate sites.

Of course, it’s not uncommon for S-1 filings to contain statements that can be interpreted as impending doom, since companies are required to be frank about their business’s prospects. However, with single copyright cases often dealing with millions of dollars worth of alleged infringement, Cloudflare’s appraisal of the risks seems entirely warranted.

Cloudflare’s S-1 filing can be viewed here

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Millions of people use YouTube to share their creations with the world, as commentary, entertainment, education, or for any other purpose they see fit.

In most cases, these videos remain online without any issues. However, for some creators, YouTube’s copyright enforcement is causing a mess, one that severely affects their day-to-day activities.

We’ve repeatedly covered problems with YouTube’s Content-ID system dating as far back as eight years ago. Most of these issues are the result of overbroad filters, often when YouTube finds a copyright match where it shouldn’t.

However, the problems go much deeper than random ‘bot’ mistakes. YouTube allows certain copyright holders to make “manual” Content-ID claims as well. This allows them to flag content that’s not caught by Content-ID. However, despite the fact that these claims are reviewed by a person, some are rather frivolous.

In some instances, it appears that just mentioning the title of an artist or song can result in a manual copyright claim, even though the audio itself isn’t used in the video.

After many YouTube creators bitterly complained about these types of abuse, which deprives them of revenue, YouTube is beginning to change its policies.

“One concerning trend we’ve seen is aggressive manual claiming of very short music clips used in monetized videos. These claims can feel particularly unfair, as they transfer all revenue from the creator to the claimant, regardless of the amount of music claimed,” the YouTube team explains.

Last month the video service took the first step by requiring copyright holders to provide timestamps for all manual claims, precisely identifying what they see as infringing. This week, the company goes a step further.

In an effort to create a fairer creator ecosystem, YouTube will soon forbid copyright holders from using the manual claiming process to monetize videos that feature short or unintentional music fragments.

This means, for example, that a three-second music clip in a longer video can no longer be claimed this way. The same would likely be true for a song that unintentionally plays in the background on a TV or radio.

The YouTube team notes that these additional changes are intended to improve fairness in the creator ecosystem. The company hopes that it will ultimately lead to fewer unfair and aggressive practices by some rightsholders.

In addition, the policy update also copes with a stick for rightsholders, which is relatively rare for YouTube. Those rightsholders who repeatedly violate the new policy can lose their manual Content-ID claiming rights.

“Once we start enforcement, copyright owners who repeatedly fail to adhere to these policies will have their access to Manual Claiming suspended,” YouTube writes.

While this change is a big step, it only impacts a relatively small number of claims. Automated Content-ID claims, which represent the vast majority, are not affected by the policy update.

In addition, copyright holders can still manually claim short or unintentional uses of their work. However, instead of taking the monetization option, they can choose to prevent any type of monetization of the video, or block it altogether.

It remains to be seen how happy video creators will be with this new policy once it goes into effect mid-September. In theory, the result could see more videos get blocked, as YouTube recognizes.

“We acknowledge that these changes may result in more blocked content in the near-term, but we feel this is an important step toward striking the right balance over the long-term. Our goal is to unlock new value for everyone by powering creative reuse and content mashups, while fairly compensating all rightsholders,” the YouTube team concludes. 

Time will tell whether the changes have the intended effect, or if the current problems will persist.

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Invader Zim: Enter the Florpus is almost out thanks to Netflix this time. To be more exact, Netflix has just released a new trailer for the film and it shows that Enter the Florpus is everything that a fan of Invader Zim would expect. In this trailer, you get a bit more of what the film’s about compared to previous trailers.

Invader Zim: Enter the Florpus Netflix

Nickelodeon unfortunately canceled the show back in 2004 before the second season was full finished. That was because of poor ratings. Invader Zim creator Jhonen Vasquez said: ”The mission was not necessarily to make a kids’ show and it wasn’t to make a show trying to shock people, either. It’s just a particular kind of stupid.”

But since then, and even during its initial run, the show was a fan-favorite despite being subversive in its animation, content, and messages. Also the merchandise of the tv show has never really gone out of production. On the contrary, you can still buy many items featuring Zim and his trusty robot servant GIR online.

The new Netflix movie’s synopsis seems to tease that ZIM will finally find out why he was sent to Earth. According to the Netflix synopsis “ZIM discovers his almighty leaders never had any intention of coming to Earth. He loses confidence in himself for the first time in his life, which is the big break his human nemesis, Dib has been waiting for”.

Invader Zim: Enter the Florpus Trailer

In an interview with Polygon about the upcoming movie, the creator also explains that he’d turned down revisiting Invader Zim in the past. He also explains why he’s choosing to do so now:

“The tricky thing about returning was making it clear to the new Nick that inviting Zim back meant inviting Zim back, a thing that wasn’t going to be something else, they were still inviting a pulsating garbage bag of filth encrusted rabid weasels into their studio. For the most part everyone understood what they were signing on for.”

Enter the Florpus will be on Netflix on August 16.


Last month, TorrentFreak reported that the Creative Content UK (CCUK) “Get it Right” anti-piracy campaign had ended the practice of sending infringement notices to ‘pirating’ Internet users in the UK.

“The educational emails sent by ISPs upon detection of infringing file-sharing activity have served their purpose and are ceasing, with the focus instead increasing the broader engagement with fans based around their passion for music, TV, film and all other kinds of creative content,” a CCUK spokesperson told us.

The wider campaign, which is funded by the UK government and run by music and movie industry groups BPI and MPA, launched a new phase today. It aims to educate consumers on the efforts expended during the creation of original content in the hope that will lead to a natural decline in piracy rates. Hearts and minds, if you will.

It begins with the first installment of a new mini-series featuring creators (social influencers) talking about their own content and what it takes to produce it, including the work put in by those behind the scenes.

Quite smartly, CCUK has gone down the “accessible superstar” route in its first episode by featuring popular YouTuber Caspar Lee and ‘influencer’ Snoochie Shy, who together have more than 10 million followers on various platforms.

[youtube https://www.youtube.com/watch?v=L0AYl4yedVE?feature=oembed&w=694&h=390]
The first video in the mini-series

Given that this writer had to Google for information on both Lee and Shy, it seems clear that the target audience of the campaign is relatively young. We spoke to CCUK who confirmed our suspicions.

“The principal target audience of the Get it Right campaign overall is 16-34, but the focus of this particular influencer video (and others to come) is more 16-24 – so Millennials and early Gen Z essentially. It may also resonate with some younger, early-teen Caspar and Snoochie followers too,” a CCUK spokesperson explained.

As the video notes, Caspar Lee starred in a movie (Laid in America) which according to CCUK was heavily pirated to the tune of 500,000 downloads/streams in a single month. This in itself raises an interesting question.

If Lee’s followers are his biggest fans, presumably they already have some level of respect for him. If that’s the case, why did so many of them pirate his movie, even after having semi-direct ‘personal’ contact with him through his social media channels? That’s something CCUK hopes to address with its campaign.

“One of the paradoxes of Internet/social media led fandom is arguably that there can be huge love and passion for the artist/influencer, their content and what they do and have to say, but this doesn’t always translate into their content being accessed from the right sources,” CCUK told TF.

“Some fans may even think – ‘this guy must be making loads of money – he’s not going to miss if I don’t pay for it.’ But the reality is that artists and creators do feel it, particularly new ones trying to break through.

“Think how many young creators are looking to make a living from the Internet and from creating content, and all the people that work with them, who can all be seriously impacted. Caspar and the people that worked with him didn’t get to make a sequel for example.”

CCUK add that some of this unofficial consumption may be down to a genuine lack of awareness, with people having difficulty differentiating between official and pirate platforms, for example. But whatever the reasons for piracy, the group’s leaders hope to use their education campaign to encourage a change in both behavior and attitudes.

“It’s encouraging to see Get It Right quietly but surely having a positive effect, and that its core message is getting through,” says Ian Moss, BPI Director of Public Affairs.

“Fans have a clear choice – If they value the creative process, and access content legally from licensed sources, creators will be able to invest more of their time and creativity into producing the music, film and other entertainment we love. If they don’t, and creators feel less able to take risks and invest, this rich choice will diminish for us all.”

Marianne Grant, who co-leads on the campaign for the MPA, believes that people who have been exposed to the Get it Right campaign are now more willing to see how their own actions can make a difference by spending more time considering whether to consume from legitimate sources.

“Since Get it Right was launched, more people are taking that time, with the almost 30 per cent of the population who have been exposed to Get it Right materials reducing significantly their use of infringing content,” Grant says.

“Our task now is to reach further into the population with these interesting and important messages – to provide more engaging and informative content to improve people’s understanding about the creative process and all the people who are involved in it – and to encourage further change.”

A CCUK spokesperson informs TF that this first ‘influencer’ video is “effectively a pilot”, the results of which will shape the direction of future videos in the series. They will target the same age group, so expect to see similar “influencers” playing a key role in future productions.

Whether the campaign will make a real difference “on the ground” remains to be seen. However, reading between the lines and given the target audience, older pirates may not be considered the biggest problem in the UK right now. And of course, they’ll be more set in their ways, so molding younger minds may be the easier option.

They’ll also know who Caspar Lee is, which is a big plus and a good start.

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