The joint press release issued Monday by the Premier League and Alliance for Creativity and Entertainment (ACE) was unusual right from the start.

Published early on Monday, even the timing was a break from the norm, but the content was even more surprising. Following criminal referrals by the Premier League and ACE, an operator of BestBuyIPTV – a platform that has appeared on the USTR’s Notorious Markets report for the past five years – had been convicted at the People’s Court of Hanoi.

For a country where criminal referrals have traditionally disappeared into the ether, that could be a very big deal.

Sentencing Details Are Somewhat Puzzling

The press release clearly identifies Le Hai Nam as “the operator” of BestBuyIPTV. He entered a guilty plea and was sentenced to 30 months in prison and ordered to pay the equivalent of $4,000. Whether that was a straightforward fine or something else isn’t clear, but more than $24,000 in illegal profits were identified, confiscated, and then seized by the state, while $12,000 in restitution was paid according to the indictment.

Having learned more about the case and its challenges since Monday, the conviction seems to represent a minor miracle in itself. In isolation, however, there’s an irreconcilable gap between the scale of the infringing and the punishment handed down.

For reasons that aren’t addressed, the court suspended the entire sentence, i.e no prison time at all. Assuming the restitution was split 50/50, that’s $6,000 each for the Premier League and ACE, while $24,000 – the bulk of funds – simply evaporated into the public purse. It’s a baffling situation, but clearly the conviction is the main prize here; it could be priceless.

Legal Process Took Four Years

Information made available to TorrentFreak suggests that the Premier League filed a complaint with authorities in June or July 2020, requesting an investigation and criminal prosecution of not one, but two Vietnamese nationals, one of which was Le Hai Nam.

The other, whose name we’ll refrain from revealing here, was considered the operator of BestBuyIPTV while Nam appears to have controlled the restreaming side of the business. Communications with customers show involvement in both reselling and direct sales, however.

Estimates of how much BestBuyIPTV was making overall were not made available to us, but a third party estimate provides some basis to throw some figures into the air to compare with the $14,000 paid in restitution.

In common with similar services who use subscriber numbers as part of their marketing, BestBuyIPTV’s homepage boasted 900,000 subscribers, between 10,000 and 12,000 resellers, and around 2,000 restreaming affiliates. If we assume these figures are highly inflated and then broadly avoid counting revenues twice, a conservative estimate would run to a seven-figure sum, and quite possibly eight.

The other remarkable aspect to this case can be viewed from two different directions. Either there was a complete lack of awareness on the security front, or maybe none of those involved actually cared. Given the technical skills on display concerning the service itself, the former seems to be out of the question. That leaves the latter, and probably one of the easier identifications for the Premier League in recent years.

Of course, that’s just a small part of the puzzle; gathering evidence to support convictions is painstaking work and more may be needed to bring this particular battle to an end.

Official Admits Manga Piracy Problem

As regularly reported over the past few years, Vietnam is home to some of the world’s largest pirate sites. In the United States, with site-blocking legislation back on the political agenda, the spotlight is on FMovies , one of the world’s leading movie and TV show streaming sites.

For some time, however, copyright holders in Japan have been reporting several other Vietnam-based or Vietnam-operated platforms responsible for staggering levels of piracy. They specialize in Japanese comics, known as manga, and local cartoons, better known as anime.

After recently renewing an anti-piracy partnership with Hollywood, publishers and anti-piracy group CODA are independently working flat out to solve what at times has looked like an unsolvable problem. However, unusual comments published in local media may suggest some light on the horizon.

Hundreds of Millions of Dollars

Pham Hoang Hai is the director of the Radio, Television and Electronic Information Testing Center, which operates within the Department of Broadcasting and Electronic Information under the Ministry of Information and Communications.

In comments published recently in local media, Hai said that around 100 websites are known to offer football matches illegally in Vietnam, together responsible for around 1.5 billion views in the 2022/2023 season. He also commented on sites dealing in other content, around 200 generating around 120 million views. And then something else, which as far as we know is the first public comment that acknowledges the scale of manga piracy traceable to Vietnam.

“Recently, we discovered a number of websites with servers located abroad that violate comic book copyrights,” Hai said .

“There have been a number of Japanese organizations working with the Ministry of Information and Communications, reporting comic book violations. Wars in cyberspace have caused hundreds of millions of dollars in damage to copyright owners.”

In isolation, that may not sound like a particularly important comment and with no context, a suspended sentence and measly restitution could easily be dismissed on the same grounds. Only time will tell whether these seeds will grow into something more substantial but in Vietnam, where signs of progress are extremely rare, any achievement in the right direction holds significant value.

From: TF , for the latest news on copyright battles, piracy and more.

From a standing start in 2016, manga piracy site Mangamura (Manga Village) took just two years to become the largest site of its type and the single largest online piracy threat Japanese publishers had ever encountered.

Publishers including Shogakukan, Kadokawa, and Shueisha, and their anti-piracy partner CODA, estimated that in its relatively brief time online, Mangamura had caused a staggering $2.91 billion in losses. In April 2018, in the wake of a government announcement that detailed emergency website blocking against sites including Mangamura, the site suddenly disappeared and was never seen again. Then came the reckoning.

A criminal investigation eventually led to the arrest of the site’s operator, Romi Hoshino, in Manilla. After being deported to Japan and arrested, Hoshino faced a criminal trial and in June 2021, was handed a three-year prison sentence and financial penalties totaling around $650K.

Publishers Sue For Damages

Hoping to recoup some of their losses, in the summer of 2022 manga publishers Kodakawa, Shogakukan, and Shueisha filed a civil action against the former operator of Mangamura. Their lawsuit sought damages of 1.9 billion yen ($12.3 million at today’s rates) from Hoshino, supported by evidence obtained from Google and Cloudflare , among others.

Following his release in 2022, Hoshino hit the headlines last September when promoting the imminent release of his new book, The Truth About Mangamura , which appears to have generated mostly positive reviews on Amazon .

Publishers Handed Big Win in Tokyo

Whether Hoshino’s book was a commercial success isn’t clear. However, a decision handed down today at the Tokyo District Court in the civil action, brought against him by the publishers, carries a damages award big enough to upset even the most successful authors.

According to the publishers’ complaint, around 8,200 pirated copies of manga and magazines (73,000 volumes) were offered on Mangamura. With monthly visits of up to 100 million, totaling 538 million between April 2017 and April 2018, the publishers estimated overall damages in excess of 320 billion yen, around $2 billion at today’s rates.

The publishers’ 1.9 billion yen claim, based on a calculation that multiplied the average number of views by the sales price of each of the 17 infringed works in suit, was the largest ever claim against a pirate site in Japan. Even then, it represented just a small part of the overall damages attributable to the site, the publishers argued.

Judge Masaki Sugiura agreed that Mangamura caused damage to the publishers but awarded less than the 1.9 billion yen requested. The award of 1.7 billion yen, around $11 million, is still believed to be a record amount for a piracy case in Japan.

Hoshino and Publishers Respond to Decision

Outside the Tokyo District Court, Romi Hoshino appeared happy to answer questions about the decision. The full video is embedded below for any native speakers or those who have any confidence in the accuracy of the transcript. While the translation doesn’t feel authentic enough for us to report on directly, there’s no doubt when it comes to Hoshino’s overall opinion of the decision.

He rejects the decision, the amount, and even the result of the first trial that landed him behind bars. In the short term, Hoshino says he may appeal today’s decision. Ultimately, however, he lacks any motivation to balance the books.

“I have no intention of paying anything,” he said, effortlessly closing the loop.

A statement published on Kadokawa’s website notes that the award for damages is appropriate; it also concedes that it will be “impossible to recover all of it.”

“We believe that it is of great significance that the illegality and liability for compensation regarding ‘Mangamura’ have been recognized in the judicial arena. Copyright infringement cases are not limited to pirated sites targeting manga, but also include movies, anime, etc., and the scope of damage is wide-ranging. Our company intends to take a resolute stance in dealing with cases of rights infringement,” Kadokawa concludes.

From: TF , for the latest news on copyright battles, piracy and more.

During the 6th meeting of the Policy Subcommittee of the Copyright Subcommittee of the Cultural Affairs Council in Japan last month, representatives from Google and ByteDance were invited to give presentations on the topic of appropriate compensation.

As the meeting progressed, the topic sparked discussion on connected matters, sometimes with legal implications. Neither company had lawyers present but, with plenty of scope to challenge the video platforms on piracy issues, including how some manage to benefit more than others, there was no shortage of conversation.

Google/YouTube

Takeya Kito, Head of Music Content Partnership for YouTube in Japan, began with some background. Used in over 100 countries with support for 80 languages, YouTube’s platform grows at a rate of over 500 hours of uploaded content every minute.

More than 71 million people, including two-thirds of the adult population, use YouTube every month in Japan, with the streaming service committed to providing four freedoms to each and every one: Freedom of expression, freedom of access to information, freedom of opportunity, and freedom of participation.

Mr. Kito spoke of YouTube’s commitment to transparency, including via its Copyright Transparency Report. When working with music partners, rights holders and artists, YouTube provides reports detailing how their content is consumed. In some areas, however, YouTube would like to see more transparency from its business partners.

“In order for YouTube to obtain a correct understanding of the royalties received by rights holders, we believe it is important to ensure transparency between the labels and copyright management organizations with whom we do business and license our works, and the individual artists, performers and songwriters who come after them,” Mr. Kito explained.

“This is because, unfortunately, we have no way of knowing how the distribution is actually handled between the individual rights holders, performers, and songwriters, so it is important to ensure transparency in this area as well.”

So, the Music Industry Gets Paid. What About Us>

Given Mr. Kito’s job title, it was perhaps inevitable that YouTube’s work with the music industry would dominate his presentation. Content ID, the content recognition / monetization system that currently handles over 99% of copyright claims and to date has returned $9 billion to rightsholders, mostly in the recording industry, received plenty of coverage.

The first question from those in attendance came from Mr. Ito, a representative of Authorized Books of Japan (ABJ), who thanked Mr. Kito for his presentation and then got right down to business.

“I found it very interesting to hear about how the music industry is successfully using Content ID in various ways. By the way, I belong to an organization called ABJ, and I work in anti-piracy measures at a publishing company [TF: Shueisha], and I’ve been using Content ID for about 14 years,” Mr. Ito explained.

“On YouTube, there are cases where publications, mainly still images of manga, are uploaded as videos like picture-story shows, or picture books, which are read aloud by users while turning the pages on their own. A large number of videos like this have been uploaded. Regarding Content ID, Content ID has no effect on illegal videos published by publishers, so publishers have to hire specialized companies or search on YouTube themselves to find infringing videos. I’m working on erasing them.”

Mr. Ito noted how representatives from the music industry spoke of being rewarded through Content ID, citing a “huge amount” of around $1.8 billion. But then, the inevitable; if the music industry has the ability to turn copyright claims into profit, what about everyone else?

“I strongly feel that publishers are not receiving any return from capturing pirated copies regarding Content ID. My first question is, what do you think about the situation where Content ID cannot be used to deal with pirated copies of publications?” Mr. Ito asked.

ABJ’s representative didn’t get the answer he was hoping for.

“Thank you very much,” YouTube’s representative responded. “As to your question, please understand that I am not in a position to answer it, as my role is limited to music partnerships in Japan.”

Mr. Ito accepted the position but still wasn’t quite done.

Time For TikTok

Representing TikTok at the meeting was Mr. Tomiji Kato, Senior Manager of Global Music Business Development & IP Rights at ByteDance Inc.

Mr. Kato’s presentation was very long but at one point he also touched on Content ID. TikTok doesn’t have a comparable system but the question here, it seems, is whether TikTok needs or even wants one. Something like that could be too restrictive for TikTok.

“At TikTok, we have not yet introduced a system like YouTube’s Content ID for original recordings, but what we need to consider is whether a system like Content ID is better, or whether we should have a pre-decided, all-inclusive contract like we are doing now with the labels,” Mr. Kato explained.

“By introducing a system or mechanism, we must not, for example, impair the creativity of music development or competition in music use, and so we must consider how the platforms and users can best use new music. We are considering how we can best contribute to new music use and development on the platform side and on the users’ side, and this is something that both the rights holders and the platforms should consider.”

When the presentation was opened up for questions, Mr. Ito of ABJ (and of publisher Shueisha) initially had considerable praise for TikTok; users of TikTok who introduce publishing content to their followers have a “ripple effect” and as a result, “there are many things to look forward to.”

Unfortunately, there are other things too, none of them good.

YouTube Used to Have Most Pirated Content, Not Any More

“For many years, I have been taking measures including on YouTube, and when it comes to video posting sites, YouTube has by far the most pirated copies, with the largest number of pirated copies being deleted in a month, around 20,000,” Mr. Ito said.

“However, starting around the summer, TikTok has finally overtaken YouTube, and now, depending on the month, TikTok has two to three times as many pirated copies being uploaded. We are also in serious trouble, and although the person in charge and the person at the anti-infringement company are deleting the information every day, the situation is not going away.”

Mr. Kato was then asked four questions: Is TikTok aware of so many pirated copies of publications, including manga? Does the company know that pirated copies often appear in recommendations? Does TikTok know that, when compared to YouTube, malicious accounts are less likely to be suspended? And finally, does TikTok appreciate how little copyright awareness is shown by its users?

“First of all, thank you for your positive comments,” said Mr. Kato. “I’m sorry, but I would like to refrain from answering any questions regarding pirated copies or takedowns, as this is outside of my scope of work.”

For those interested in how the discussion developed, the full minutes of the meeting ‘令和5年度第6回（2024年3月13日’ are available here (pdf). In summary, there might be a little more work to be done.

From: TF , for the latest news on copyright battles, piracy and more.

Avec une sortie prévue demain sur Crunchyroll, Kaiju No 8 fracasse nos idées reçues sur les histoires de monstres.

Coup dur pour toute la génération Club Dorothée.

Anti-piracy organization CODA (Content Overseas Distribution Association) is a permanent fixture on the front lines of Japan’s war against online piracy.

CODA represents the interests of around 30 corporate entities doing business in the publishing, media, movie, music, and wider entertainment industries. Members include publishers Kadokawa, Shueisha, Kodansha, and Shogakukan, through to videogame/publishing giants Square Enix and Bandai Namco. From the broadcasting sector, there’s NHK, Nippon, and Nikkatsu, to name just a few.

While these names represent just a sample of the individual companies represented by CODA, the anti-piracy group also has around ten ‘organizational’ members. These are trade groups in their own right and have members of their own.

They include the Japan Satellite Broadcasting Association, Motion Picture Producers Association of Japan, Japan Video Software Association, Japan Magazine Publishers Association, Association of Japanese Animations, plus several others involved in the videogame, software, and content protection legal sectors.

Popularity of Japanese Content Fuels Massive Levels of Piracy

The scale of the content protection challenge faced by CODA is difficult to overstate. The anti-piracy group is refreshingly open with its research and data, which as an observer makes it easier to connect with and appreciate the big numbers, rather than simply reciting them without relevant context.

Japan’s online piracy issues are a constant, much as they are in any other country, but more recent estimates reveal illicit consumption’s startling growth.

A major problem estimated to be worth less than 500 billion yen (US$3.3bn) back in 2019 took just three years to transform itself into a ~2 trillion yen ($13.2bn) piracy nightmare. Videogame piracy skyrocketed in the period leading to 2022, but it’s the products of the publishing and film industries that attract the lion’s share of all piracy, much of it taking place and directed from overseas.

CODA & MPA Officially Extend 10-Year Anti-Piracy Partnership

On March 20, 2014, CODA and the Motion Picture Association (MPA) signed an agreement to develop new strategies to tackle online copyright infringement worldwide, and to strengthen their joint copyright protection activities. The agreement, renewed another five times since then, has just reached its 10th anniversary and the event was marked with another renewal.

Last week at MPA headquarters in Washington, D.C., CODA and the Motion Picture Association signed an official memorandum of understanding (MOU) to extend the term of their agreement until 2026.

“On the day, MPA’s Karin Temple (Senior Executive Vice President and Global General Counsel) and CODA’s Representative Director Takeo Goto signed the agreement, and at the signing ceremony, each pledged further collaboration,” a CODA statement reads.

“CODA and MPA began a business partnership in 2005 to combat physical piracy in the Asian region, and have since built a strong partnership by signing a 10-year MOU starting in 2014. CODA and MPA’s joint enforcement efforts have achieved great results, including implementing many anti-piracy measures in the Asia-Pacific and beyond, resulting in tens of thousands of crackdowns.”

Joint Success, Massive Budget Disparities

CODA data shows that from January 2005 to March 2023, collaboration with the MPA generated thousands of enforcement cases. In China, 13,820 cases led to the arrest of 304 people, in Hong Kong 1,318 cases led to 1,275 arrests, and in Taiwan, 2,233 people were arrested as part of 2,215 enforcement operations.

From physical piracy operations to more recent actions targeting pirate IPTV in Taiwan, CODA deals with problems wherever it finds them.

A major issue faced by CODA relates to its budget for overseas anti-piracy enforcement. Funding for overseas anti-piracy efforts is allocated as a proportion of overseas sales and CODA’s members simply don’t do enough overseas business to compete with the MPA, CODA explains.

Annual dues for the six major studios for piracy-fighting actions carried out by the MPA total $50m. CODA says that Disney’s sales alone out-volume the combined sales of Toei, Toho, Shochiku, and Kadokawa, at a rate of 16 to 1.

Given the disparity, the opportunity to conduct joint enforcement work with the MPA is clearly a massive boost for CODA’s members. At a time when Japanese content is in demand like never before in overseas markets, it’s especially important. As the market stands right now, however, only a minority of overseas consumers actually pay for it.

Enforcement Challenges Broadly Mimic Those of the MPA

In a presentation slide, CODA highlights how a typical pirate can operate if the operator wishes to remain anonymous. The original slide ‘The dark side of identifying operators of pirated sites’ is entirely in Japanese so here we’ve made best efforts to provide a like-for-like translation.

Some nuance may have been lost, but the common theme is undoubtedly a lack of ‘know your customer’ regimes from domain registration, to server rental, through to use of a CDN such as Cloudflare.

Considered a major irritant, the Njalla domain service is called out alongside Cloudflare.

“Began operations in April 2017. Sells ‘complete anonymity’. Founded by Peter Sunde, co-founder of The Pirate Bay. Users buy the rights to use domains purchased by Njalla. Njalla is the owner of the domain, Njalla does not disclose [user identities],” CODA writes.

“[Cloudflare] operates a distributed server system (user servers are hard to find). When Cloudflare discloses information, the site operator is also notified to that effect. The operator immediately moves the server,” the anti-piracy group contiues, adding:

“If you have basic knowledge of the Internet and can read and write simple English, you can operate a completely anonymous pirate site!”

Takedown Compliance: The Winner is….

In common with many anti-piracy groups, CODA sends large numbers of DMCA-style takedown notices to platforms including YouTube, Facebook, Daily Motion, and sundry local equivalents.

The data shows that CODA achieves a very high rate of compliance, in many cases above 99%. (Original slide in Japanese, our translations appear inside square brackets [ ])

Whether that’s due to CODA’s high-level accuracy (our knowledge of CODA suggests that they take accuracy very seriously) or adherence to strict local law, or even a combination of both, isn’t immediately clear. However, the stand-out figures here are returned by MEGA; every piece of content CODA asked MEGA to remove, was removed, earning the company a 100% compliance rate.

For reference, CODA’s members and their lines of business are listed below.
(Note: some companies may span more than one category but here they are listed only once)

### Anime and Entertainment Production
1. Aniplex Inc.
2. Cygames, Inc.
3. KADOKAWA CORPORATION
4. King Record Co., Ltd.
5. SHUEISHA Inc.
6. SHOGAKUKAN Inc.
7. Shogakukan-Shueisha Productions Co., Ltd.
8. SQUARE ENIX CO., LTD.
9. STUDIO GHIBLI INC.
10. TOEI ANIMATION CO., LTD.
11. TMS ENTERTAINMENT CO., LTD.

### Publishing and Media
12. ADK Emotions Inc.
13. KODANSHA LTD.
14. Nikkatsu Corporation
15. Nippon Television Network Corporation
16. Japan Broadcasting Corporation (NHK)
17. Shochiku Co., Ltd.
18. TOKYO BROADCASTING SYSTEM TELEVISION, INC.
19. TV Asahi Corporation
20. TV TOKYO Corporation
21. YOMIURI TELECASTING CORPORATION
22. WOWOW Inc.

### Film Production and Distribution
23. Happinet Phantom Studios Corporation
24. TOEI COMPANY, LTD.
25. TOHO CO., LTD.
26. Bandai Namco Filmworks Inc.

### Music and Record Labels
27. Avex Inc.
28. King Record Co., Ltd.
29. PONY CANYON INC.
30. UNIVERSAL MUSIC LLC

### Broadcasting
31. Fuji Television Network, Inc.

### Miscellaneous
32. FWD Inc. (Various services)
33. YOSHIMOTO KOGYO HOLDINGS CO., LTD. (Entertainment management and production)

Organizational members of CODA listed by category

### Media and Entertainment Associations
1. Japan Satellite Broadcasting Association
2. Motion Picture Producers Association of Japan
3. Japan Video Software Association
4. Japan Magazine Publishers Association
5. The Association of Japanese Animations

### Gaming and Software
6. Computer Entertainment Supplier’s Association
7. Association of Copyright for Computer Software
8. Digital Content Association of Japan

### Intellectual Property and Legal
9. Japan Patent Attorneys Association

### Anti-Counterfeiting
10. Anti-Counterfeiting Association

From: TF , for the latest news on copyright battles, piracy and more.

Un shonen à l'école des sorciers, ça vous tente ?

La famille Forger débarque sur le service de streaming juste à temps pour une séance de rattrapage à l'approche du long métrage en salles.

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