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      Manga Publishers Grill YouTube & TikTok on Piracy and Content ID Restrictions

      news.movim.eu / TorrentFreak · Tuesday, 16 April - 18:04 · 5 minutes

    tiktoktubejapan 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.


    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.

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      Si vous aimez L’Attaque des Titans et Godzilla, ce nouvel anime est pour vous

      news.movim.eu / JournalDuGeek · Friday, 12 April - 13:28

    Kaiju 8

    Avec une sortie prévue demain sur Crunchyroll, Kaiju No 8 fracasse nos idées reçues sur les histoires de monstres.
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      Japan’s 2 Trillion Yen Manga & Anime Piracy War Gets New Hollywood Backing

      news.movim.eu / TorrentFreak · Monday, 8 April - 06:48 · 6 minutes

    coda-logo-2024 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.

    Image credit: CODA cod-mpa-mou

    “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.

    Image credit: CODA coda-taiwan

    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.

    Image credit: CODA coda-ap-issues

    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 [ ])

    Image credit: CODA CODA-takedown results

    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.
    4. King Record Co., Ltd.
    5. SHUEISHA Inc.
    6. SHOGAKUKAN Inc.
    7. Shogakukan-Shueisha Productions Co., Ltd.

    ### Publishing and Media
    12. ADK Emotions Inc.
    14. Nikkatsu Corporation
    15. Nippon Television Network Corporation
    16. Japan Broadcasting Corporation (NHK)
    17. Shochiku Co., Ltd.
    19. TV Asahi Corporation
    20. TV TOKYO Corporation
    22. WOWOW Inc.

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

    ### Music and Record Labels
    27. Avex Inc.
    28. King Record Co., Ltd.

    ### 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.

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      En attendant le film SPY x FAMILY, la saison 1 de l’anime arrive sur Netflix

      news.movim.eu / JournalDuGeek · Wednesday, 27 March - 14:31

    Spy X Family Forger

    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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      One Piece fait une pause : quand pourrez-vous lire la suite du manga ?

      news.movim.eu / JournalDuGeek · Wednesday, 20 March - 09:20

    One Piece Pause Manga

    Après Dragon Ball Super, c'est au tour de One Piece de prendre ses distances avec les kiosques. Le manga observe une pause de plusieurs semaines.