After years of work, on March 26, 2019 the new EU Copyright Directive was adopted, with 348 Members of Parliament in favor, 274 against, and 36 abstentions.

A little under a month later, the EU Council of Ministers waved the legislation through, despite opposition from Italy, Luxembourg, Netherlands, Poland, Finland, and Sweden. Belgium, Estonia, and Slovenia abstained.

EU member states were then granted two years to implement the law, which includes the controversial Article 17 (formerly 13). That requires platforms like YouTube to sign licensing agreements with creators. If that proves impossible, they will have to ensure that infringing content uploaded by users is taken down and not re-uploaded to their services.

Or, if one takes on face value a recently published official translation of the Directive, something much more outrageous.

As revealed by Eleonara Rosati over at IPKitten, someone has made a small but monumental mistake when transposing the Directive into Italian.

First, the relevant section in English;

7. The cooperation between online content-sharing service providers and rightholders shall not result in the prevention of the availability of works or other subject matter uploaded by users, which do not infringe copyright and related rights, including where such works or other subject matter are covered by an exception or limitation.

Now, the same section in the Italian version (translated back to English);

7. Cooperation between online content sharing service providers and rights holders must prevent the availability of works or other materials uploaded by users that do not infringe copyright or related rights, even in cases where such works or other materials are subject to an exception or limitation.

So, according to this translation, sites like YouTube must work with rightsholders to ensure that non-infringing works are never made available on their platforms, even when the use of such works is allowed under relevant exceptions, presumably including…..erm….fair use. Or is that unfair use? Difficult to say.

Rosati suggests on Twitter that people might like to run through the now fully-published Directive on the Official Journal of the EU to see if there are any other errors in other countries’ translations.

Considering Italy didn’t want this law to pass, it’s lucky this error got spotted early or the much-heralded “meme ban” might’ve been just the tip of the iceberg.

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During February, China’s National Copyright Administration (NCAC) announced that it would be upping efforts to deal with copyright infringement.

On top of a promise to “dig deep” into the sources of piracy and “sternly investigate” online platforms that help to distribute pirated content, the NCAC said it would also target unauthorized “camming”.

Camming, the act of recording movies in theaters with video cameras, has been a major headache for the entertainment industries for decades. Illegal copies often hit the Internet within hours of a movie’s premiere, as was the case last month with Avengers: Endgame.

While the NCAC clearly couldn’t do anything about that serious event, the question remains whether physical deterrents (such as bag searches and action against complicit theater owners) can also be augmented by technical measures.

Before Endgame dramatically hit the web, the China-based partnership of Ogilvy and Focus Film Media, part of Focus Media Group, announced that they had developed a new system to prevent camming taking in place in cinemas.

“Originality is the soul of the film industry and the foundation from which it thrives upon; it is our job to protect this originality,” said Jason Jiang, Founder and Chairman of Focus Media Group.

“We are delighted to have gone beyond a conventional approach and develop the ‘Piracy Blockr,’ which allows us to address the problem in a discrete but effective way, ensuring that the film industry is protected for years to come.”

The image above, although clearly mocked up, provides an idea of how the system is supposed to work. A watermark, invisible to the viewer, is captured by camcorders when an attempt is made to record the screen.

So how does it work? TorrentFreak spoke with Ogilvy to find out.

“There is a lot more to light than what mere human eyes can detect, but a device in your pocket can help you see beyond your biological limits. Our eyes can only detect colors of light that we see as a rainbow, primarily shades of red, orange, yellow, green, blue, indigo, and violet,” says Silvia Zhang, Ogilvy Marketing & Communications Manager.

“So while our naked eyes can’t pick up on the wavelength of infrared light, the sensors in your phones and cameras can – essentially making the invisible visible.”

Anyone with a smartphone can easily see what the system is about. Simply press a button on an infrared remote control and point it at the camera lens and the image on the screen will display the infrared light emitted by the device. The camera can ‘see’ the infrared light, we can’t.

“We used this to our advantage to combat the multi-billion dollar illegal cam recording industry by embedding panels of infrared light powered watermarks, which we call the ‘Piracy Blockr’, behind cinema screens in China,” Zhang adds.

The idea of using infrared light to foil pirates isn’t new. A report dating back almost 10 years reveals that Japan’s National Institute of Informatics had teamed up with Sharp to pulse infrared light through cinema screens to disturb digital recording devices.

Since we haven’t heard of any such devices actually being deployed in cinemas, we asked Ogilvy how many screens its system currently ‘protects’ in China. The company didn’t respond to our question, despite repeated attempts.

We also asked how the Piracy Blockr system is able to defeat determined cammers who attach infrared filters to their devices. The company didn’t respond to that question either. A request for a real-life image or video clip of Piracy Blockr in action received the same response.

Some research appears to have been carried out in India (pdf) which considered the challenges presented by pirates who deploy infrared filtering but the problem clearly isn’t straightforward. If it was, someone would be making millions by now while resigning ‘camming’ to history.

As for Piracy Blockr, we won’t be holding our breath while waiting for a live demo.

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Copyright enforcement on YouTube is a growing source of frustration,  particularly the overbroad takedown efforts.

Many channel operators and users have complained about apparent abuse, but most don’t go any further than that. 

John MacKay, owner of the popular channel  “Boxing Now” is an exception. On his channel, MacKay releases videos with post-fight commentary of popular fights. With hundreds of thousands of subscribers, he’s amassed a sizeable audience over the years.

The channel also comments on matches from the Ultimate Fighting Championship (UFC). Since MacKay hasn’t cleared the rights to these broadcasts, he doesn’t use video footage from these fights. Instead, he shows a few still images, commenting on these. 

Nonetheless, the UFC is not happy with his coverage, as the organization has sent five takedown notices targeting Boxing Now’s videos. These are not automated Content-ID flags, but actual takedown notices, which resulted in the videos being removed from YouTube. 

MacKay believes that his work is a clear case of fair use so in response sent counternotices for each takedown. The UFC hasn’t responded to any of these, which meant that YouTube restored the videos. However, at that point, most harm was already done. 

“My videos are most often viewed in the days immediately after a fight, and when UFC has them taken down for a few days with these unfair copyright claims, I lose a lot of viewers and a significant amount of money,” MacKay says, commenting on the issue.

Frustrated by the continued takedowns, MacKay decided to take a stand. He reached out to the Electronic Frontier Foundation (EFF) to help him address the matter. The EFF was happy to oblige and this week attorney Alex Moss sent a letter to the UFC, demanding that it stops sending unwarranted notices.

In the letter, Moss goes over the four factors of fair use, concluding that all weigh in the channel operator’s favor.  For example, the videos are transformative, only use a few frames of the copyrighted content, and do not compete with the original broadcast.

“Mr. MacKay’s post-fight commentary could not and did not affect the market for a live broadcast or recording of the entire fight. If anything, Mr. MacKay’s use of still images for commentary purposes would likely increase demand for the original,” Moss writes.

The EFF’s attorney points out that the UFC has an obligation to consider fair use before sending a takedown request, as was determined in the Lenz vs. Universal case. The repeated notices targeting Boxing Now’s videos indicate that the UFC has failed to meet this obligation, which harms the channel’s business. 

When the videos are taken down shortly after being posted, MacKay is missing a lot of views and therefore ad revenue. Added to that, the takedown notices also put his channel at risk, as YouTube may terminate accounts after repeat infringements. 

What the UFC’s precise motivation is for the requests is unknown. The EFF’s attorney points out, however, that the UFC also has its own post commentary videos on YouTube and that it’s reducing the competition with its takedown notices.

“We note that UFC also produces YouTube videos containing post-fight commentary, and that Mr. McKay’s videos and UFC’s videos may compete for viewership and advertising revenue. This further suggests that UFC’s takedowns of Mr. McKay’s videos were done in bad faith,” Moss writes.

The channel operator, therefore, demands that the UFC stops issuing unwarranted takedown requests. The EFF requests that the organization confirms this intention before the end of the month. 

“Accordingly, we demand that you cease sending takedown notices for Mr. McKay’s videos that make fair use of still images from UFC fights. Please confirm your agreement to do so by May 28, 2019, ” Moss concludes.

It’s not clear whether the EFF and MacKay plan any legal action should the UFC fail to meet their demand. However, as highlighted a few days ago, the likelihood of a lawsuit over unwarranted takedown notices becomes ever more likely, whether that happens in this case or not.

Speaking with TorrentFreak, Moss says she can’t go into detail about any potential follow-up steps. The EFF’s attorney hopes that the letter has some effect and that the UFC stops sending wrongful takedown notices. 

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A copy of EFF’s letter, sent to UFC on behalf of Boxing Now’s John MacKay, is available here (pdf).

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The Canadian Government is currently exploring if and how the current Copyright Act should be amended to better fit the present landscape.

To this end, Canada’s Heritage Committee organized several hearings on remuneration models for artists, where it received input from various stakeholders.

The outcome provides input for the Committee on Industry, Science and Technology’s broader review, which will determine the future course for Canada’s copyright policy.  The Heritage Committee hopes that its findings will be included. 

The report, titled “Shifting Paradigms,” leads to a set of 22 recommendations. These cover a variety of issues ranging from addressing the value gap and holding ISPs accountable, through limiting fair dealing, to extending the copyright term.

These themes are in large part meant to further support creators and copyright holders. Much like the EU’s copyright reform, there is a lot of emphasis on the so-called value gap, i.e the notion that artists don’t currently receive fair compensation for their work.

This is also reflected in the report. For example, the payouts at streaming services such as Spotify are often seen as too low. Similarly, services such as YouTube can distribute music and profit from it, while only paying a small fee to copyright holders.

“The inability of policy to evolve with technology has prevented artists from receiving fair market value for their work. According to witnesses, these outdated rules have diverted wealth from creators to large digital intermediaries on which artistic content is consumed,” the committee writes. 

There are also rightsholders who have highlighted the possible aspects of technology on their industries. Content creators have many new distribution platforms, for example, which can bring in extra revenue. However, it’s clear that creators can use some guidance, which results in the first recommendation.

Recommendation 1: That the Government of Canada increase its support for creators and creative industries in adapting to new digital markets.

Online piracy in general is another major theme. Torrent sites and streaming sites remain a significant problem which is hard to address, for example. In addition, ISPs currently have little incentive to help combat piracy. 

One issue that the Government will look into is whether safe harbor exceptions for ISPs should change, to make these companies accountable for pirating users under certain circumstances. 

Recommendation 5: That the Government of Canada review the safe harbor exceptions and laws to ensure that Internet service providers are accountable for their role in the distribution of content.

More generally, the report also suggests that Canada should do more to tackle online piracy overall. One of the options, as suggested during the consultation, is to criminalize online streaming.

Recommendation 6: That the Government of Canada increase its efforts to combat piracy and enforce copyright.

The recommendations are mostly meant to strengthen the position of rightsholders. This also includes an extension of the copyright term from 50 to 70 years after the creator’s death. This follows requests from several copyright groups and is in line with the new trade agreement with the US and Mexico.

According to the committee, no witnesses expressed outright opposition to extending of the copyright term, which leads to the following recommendation.

Recommendation 7: That the Government of Canada pursue its commitment to implement the extension of copyright from 50 to 70 years after the author’s death.

Large copyright intermediaries are also presented with a setback, which appears to have been largely initiated by Canadian singer Bryan Adams. During a hearing last year, Adams suggested changing the text of the Copyright Act to made it easier for artists to regain their copyrights.

At the moment, Canadian copyright reverts to a creator’s heirs 25 years after “death.” By changing the word “death” to “assignment”, creators will be able to terminate a copyright assignment while they’re still alive. 

This is helpful to artists who sign away their rights to labels early in their career, which they may regret later. The Heritage Committee sides with Adams and includes the following recommendation.

Recommendation 14: That the Government of Canada amend subsection 14(1) of the Copyright Act so that it reads “from 25 years after assignment.

Following more music- and movie-related recommendations, many of which deal with licensing and remuneration, the committee shifts its focus to the publishing industry. 

Specifically, it addresses a commonly heard complaint from publishers that Canada’s fair dealing exemptions are too broad. Currently, schools are allowed to copy texts for educational use, but this should change, the committee argues.

Recommendation 18: That Government of Canada amend the Act to clarify that fair dealing should not apply to educational institutions when the work is commercially available.

All in all its clear that the recommendations made in the report are favorable to copyright holders, who will welcome it with open arms. However, not everyone is positive.

University of Ottawa professor Michael Geist, who has followed the developments closely, describes the report as the most one-sided Canadian copyright report issued in the past 15 years.

“Representing little more than stenography of lobbying positions from Canadian cultural groups, the report simply adopts as recommendations a wide range of contentious proposals: copyright term extension, restricted fair dealing, increased damages, as well as several new rights and payments,” Geist writes.

“There is no attempt to engage with a broad range of stakeholders, much less grapple with contrary evidence or positions.”

While the Heritage committee did hear several witnesses from people with contrasting views, such as Professor Jeremy de Beer, lawyer Howard Knopf, and author Cory Doctorow, these positions were not reflected in the final report.

The Heritage Committee’s recommendations will now be reviewed by the Standing Committee on Industry, Science and Technology, which is tasked the broader copyright review. That report is expected to come out later this year.

As such, there’s still a long way to go before any of these proposals are acted upon, if that’s the case at all.

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A copy of the House of Commons Standing Committee on Canadian Heritage ‘s “Shifting Paradigms” report is available here (pdf).

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