Showing posts with label law. Show all posts
Showing posts with label law. Show all posts

Tuesday, June 29, 2010

Viacom v. Google – It’s Cool, I Read It So You Don’t Have To.

Yes, I am fully aware that is not a grammatically correct sentence.  However, I think it gets my point across!  If you’re interested in copyright at all (or, if you read any online news source at all), you’re probably aware that Google beat the crap out of Viacom this week in a copyright infringement suit based on the Safe Harbor Provision (17 USC §512).  But what effect does this have on copyright owners?  On the dissemination of information and art on the internet?  Well, I’m going to tell you.  See?  I read the WHOLE opinion so you don’t have to!  And I’m going to attempt break it down in a way that makes sense.  Here goes nothing.

 

Alright, so what the heck is the Safe Harbor rule anyway?  It’s a provision of the Copyright Act that basically allows awesome websites like YouTube to exist.  It basically says that websites and ISPs are NOT responsible for infringing content on their site that’s been uploaded by users as long as they comply with the following: 1) They need to have a way for copyright owners to submit information to the site detailing the infringing content; 2) the communication to the site must be “written,” 3) it must describe the content to such a degree that it can be reasonably identified by the site admins; 4) Once notified, the site must try and find it and, when they do, delete the content.  If they do, they’re given “safe harbor” from being responsible for the infringement. 

 

Now that we’ve got that down, here’s some VERY important holdings that the Supreme Court handed down.

 

1)    Safe Harbor is Determined on an item-specific basis;

2)    ISPs and sites have no active duty to seek out infringing content;

3)    “mere knowledge” of prevalence of infringement is NOT enough.

 

In the rule, it states:

 

“Whether a service provider qualifies for the limitation on liability in any one of those subsections that be based solely on the criteria in that subsection, and shall not affect a determination of whether that service provider qualified for the limitations on liability under any other such subsection.”

 

When this was written, it probably meant “look ISPs – you don’t get a free ticket to ride just because you qualify once.  You have to do this EVERY TIME.”  But, the Supreme Court said, it works the other way around, too: “Presently, over 24 hours of new video-viewing time is uploaded to the YouTube website every minute.” (Emphasis added.)  YouTube has been consistent with taking down infringing works every time they receive a notification; indeed, later in the case, the Court notes that Viacom sent a list of over a hundred thousand of individual violations – and by the next day, almost ALL of them were gone.  Here’s the key: the Court said that a “general awareness” of infringements is NOT enough to take sites and ISPs outside of Safe Harbor.  The actual or constructive knowledge of infringement must be “specific and identifiable.”  YouTube has no active duty to track down infringement, even if they have a general idea that it exists on their site.

 

The Court then talks at length about the interesting legislative history around the rule, demonstrating a clear attempt by the Senate to balance the rights of copyright holders and the expansion of the internet and information. 

 

“Copyright owners will hesitate to make their works readily available on the Internet without reasonable assurance that they will be protected against massive piracy….At the same time, without clarification of their liability, service providers may hesitate to make the necessary investment in the expansion of the speed and capacity of the Internet.”

 

Safe Harbor is about protects sites and ISPs – NOT copyright owners.  It is copyright owners that hold (and always have held) the active duty to seek out infringers.  The Court is refusing to shift that burden on ISPs simply because they provide the ability to disseminate content – both infringing and legitimate content.  Says the Court: “a service provide need not monitor its service or affirmatively seek facts indicating infringing activity…”  They need only be aware of “red flags,” which they DO need to address – they can’t turn a “blind eye.”

 

Furthermore, stated the Court:

 

“The provider could not be expected, during the course of its brief cataloguing visit, to determine whether the photograph was still protected by copyright r was in the public domain; if the photograph was still protected by copyright, whether the use was licensed; and if the use was not licensed, whether it was permitted under the fair use doctrine.”

 

So, it’s officially and legally not the JOB of the ISPs to search for legit content on behalf of copyright owners.

 

It’s also not enough that YouTube might have had “general knowledge” that infringement occurs on their site.  Stated the Court, “[to] impose responsibility on service providers to discover which of their users’ postings infringe a copyright would contravene the structure and operation of the DMCA.”

 

The DMCA is designed to provide a streamlined, focused way to ISPs to regulate content – it’s not meant to impose burdensome active duties upon them.

 

The Court also distinguished YouTube from Grokster, who actively facilitated P2P file sharing – which actually always necessitates infringement because users do not have the authority to copy their own CDs.  In contrast, YouTube provides the ability to upload content, much of which IS legitimate.  Providing “’such means of facilitating user access to material on its website’ do[es] not cost the service provider its safe harbor.”

 

Now, Viacom alleged that YouTube had the “right and ability” to control the content, which is a standard for vicarious infringement.  However, the Court (rightly, in my opinion) pointed out that “the ‘right and ability to control’ the activity requires knowledge of it, which must be item-specific.” 

 

So there you have it.  Obviously this is an extremely truncated version of the entire opinion, but, in MY opinion, it’s the real meat.  In so many words, the Court was like “Dude, copyright holders, step up to the plate.  It’s not YouTube’s duty to comb their site 24/7 for your content.  It’s yours, so you do it.”  The Safe Harbor rule is very clear (for a law, that is), and YouTube has been diligent about following it.  So that’s that.

 

I think it’s very difficult to determine how this is going to affect content uploading and content-providing sites.  I think it’s pretty clear that Google is basically the Master of the Universe (yes, like He-Man… only with less loincloth and more music videos), and, at this point, it’s going to be damn-near impossible for anyone to successfully sue for them copyright infringement as long as they keep following the same protocol they follow now. I must, indeed, applaud their legal team.  Their arguments make perfect sense to me, and it’s simply unrealistic – and a detriment to the advancement of technology – to have found any other holding.  I think other outlets will pop up and try to find a middle ground between Grokster and YouTube, and that we’ll have more cases in the future refining these findings.  Until then, YouTube is safe.  And thank god, because I’m kind of in the mood to watch David after Dentist.  Or an illegal copy of a Carrie Underwood video.      

 

 

 

 

 

 

 

Posted via email from shannonjamieson's posterous

Friday, January 22, 2010

My Best Sites, Blogs & Twitter Peeps for Entertainment

As a young attorney, I kind of feel this weird sense of duty to bring law practice into the 21st Century. It's actually a bit more difficult than it sounds; not only do you have a rift between the "young" attorneys and "older" attorneys. It's not really an age thing, it's more of a way of practicing. As a young attorney, I want to be flexible with billing (hence our flat-fee based model at New Leaf), I want to really interact and build a relationship with my clients, and I want to promote what they're doing because I'm genuinely excited about it! However, this has not been the traditional way of legal practice, which is traditionally tight-lipped.

Thus, in the spirit of creating a new legal landscape; one that is tied to its fellow entrepreneurs and artists, I would like to share a list of my favorite sites for entertainment-related (business) content.

A Snippet of the Bestest Websites & Blogs for Artists:


lawyers4musicians.com


In a nutshell, this website totally rules. Not only is it a great resource for artists to learn about their rights, options and the law, it's also a great place for entertainment lawyers to stay up-to-date on the latest rule-world developments in this area of law. It's a perfect mix of cases, news and events.

The Hollywood Reporter's Law Blog

The Hollywood Reporter can be a very overwhelming website, especially for folks that focus more on the creative side of the industry and keep up on the business side because they have to (and that's ok!!). But Matt Belloni artfully manages a blog through the site that focuses on interesting legal happenin's in the industry. While it may seem at first only a resource for "boring lawyers" and copyright nerds like me, its content is interspersed with valuable lessons any musician, filmmaker or artist should find valuable. For example, today's blog highlights a film that is about to debut at Sundance this year - and it's FULL of unlicensed corporate logos and mascots, an issue that, as Matt points out, would make any entertainment lawyer faint. However, this is an issue that is often overlooked by many filmmakers because they have 50,000 other things to be (rightfully) concerned about. You scan this blog, and you'll be even more the wiser to the legalities you should make sure your lawyer takes care of.

arstechnica.com

Ars Technica is the go-to resource for all geeky entertainment industry peeps - whether you're a web developer, marketing/viral guy, game developers (!!), you need to hit this site on a daily basis. Though it's content is VERY rich, it's easy navigation system makes scanning through it and finding relevant, valuable information a cinch. I highly recommend the "Gaming" section for developers, industry professionals and consumers alike.

Best Twitter Content:
Gaming news: @arstechnica (for obvious reasons), @goodgaming
Entertainment law: @musiclaw09, @entlawupdate
Entertainment/Industry news: @hypebot (who also has an amazing website for musicians), @fightpiracy


A couple of other invaluable resources for Artists:
- Your local film bureau or Chamber of Commerce
In Massachusetts specifically, the Film Bureau is an amazing resource for understanding laws right regard to filmmaking, tax credits, and a myriad of other issues. There are similar organizations for other areas of entertainment as well.

- Your local arts lawyers organization
The Volunteer Lawyers for the Arts has a presence in most jurisdictions, especially ones where the area is thick with entertainment and art. I actually worked at the Volunteer Lawyers for the Arts of Massachusetts and am now a member attorney. Most of these attorneys will take artist cases pro-bono if you qualify.

How, this clearly isn't an exhaustive list; these just happen to be some of the sites I like, for various reasons. I would invite everyone to contribute their favorites as well. The bottom line at the end of the day, though, is that it is more important than ever that entertainment industry folks understand the latest news and legal developments in their industry. Not only is it (slightly?) interesting, it is most likely relevant to something you're working on, and simply being aware can save you loads of time and money on the back end. Enjoy!



www.newleaflegal.com

Wednesday, December 9, 2009

BU Student Ordered to Destroy Files, But Can't Be Silenced

Unless you're a totally copyright nerd like me, you may not having been following the case of Joel Tenebaum, a Boston University student that was order to pay $675K to four labels for downloading 30 songs.

Yesterday, BostonChannel.com reported that the judge presiding over the case order Tenebaum to destroy all of the infringing files, but would not grant the RIAA's request that Tenebaum be prohibiting from speaking out against copyright laws and his belief in file sharing, based on this wacky, old federal law call the First Amendment. Those nutty judges.

I don't have too much to say about this case except that the amount of "damages" is clearly over-the-top, and that you can't get blood from a stone. To me, the spirit of statutory damages clause in the Copyright Act (allowing up to a $150K fine for one violation) was meant to stop commercial pirates and widespread distributors of materials covered by copyright; not grad students. Perhaps I am mistaken. The judge in the case, Nancy Gerter, urged Congress to consider changing the copyright law. I have mixed feelings about this myself; arguably, the courts have discretion to interpret the Act for digital distributions. On the other hand, have written law covering P2P and other new methods of file sharing could be helpful, but only if Congress truly digests how people are distributing music online and what truly violates not only the text, but the spirit of copyright protection. I'm not sure that Congress is there yet.

Tenebaum's attorney said they would be submitting a motion for a new trial by January 4th. God's speed, my friend.

Tuesday, September 23, 2008

360 Deals: Savior or Bane to Artists?

With CD sales taking a complete nosedive over the last couple of years, the music industry is straining to find alternative revenue streams to keep it afloat. Actually, I should qualify that statement - record companies are straining. Companies involved in other aspects of the music industry, such as the venue promoter Live Nation, are doing just peachy thanks to a newer type of music agreement - the 360 Deal.

Unlike traditional recording agreements, which provided funds for recording, distribution and some marketing of a physical CD, 360 Deals promise to develop an artist into a true rockstar. Under these agreements, companies like Live Nation are teaming up with third-party affiliates that specialize in things like merchandising, pressing and distribution; things Live Nation doesn't necessary do or have the know-how to accomplish. Through these connections, the artist gets a whole team of experts (so that theory goes) that will mold and shape them into international superstars. Artists with more than a CD -- Artist with clotheslines (Avril), perfume (Mariah), you name it! By signing these deals (especially with major companies like Live Nation), Artists get a full range of expert advice. Amazing, right?

Well, not everyone thinks so. Critics of the 360 come in all shapes and sizes. First, Artists, bucking the idea of companies taking over more than just creative control of their records (something Artists constantly fight to keep), are equally appalled by an attempt by companies to "brand" the Artist's face all over endorsement products -- even if they are products that fans buy and identify with. After all, that's "selling out." Then there are others that say 360 Deals are simply an attempt to bite into a piece of pie that has traditionally belongs solely to Artists -- income from tours and merchandise. In order to become a rockstar these days, you have to pay the price (literally).

However, 360's aren't all bad for the artist. After all, it's hard enough for a band to get signed to a crappy record deal in the first place, nevermind land a decent merch company and a manager to book their tour in decent venues. Here, companies are offering a "one stop shop" option for artists - put that pen to the paper and get all the resources you'll ever need, including grooming you into a superstar. For many struggling artists, this is a perfect solution! Be forewarned though: 360 Deals are longer (some up to 10 years) and more encompassing (meaning the company you sign with will take pieces of everything you do). If the deal doesn't work out, you're either stuck together for years or you get dropped (or leave) and are back at square one.

It's difficult to say if these agreements will catch on in the long run. There's also the argument they may not be 100% legally enforceable -- naive artists have been known to get out of huge deals under the doctrine of undue influence and coercion. Mega-companies like Live Nation need to tread lightly. Also, it's unclear if these deals will pan out for "regular" artists; to date, the media has only reported huge deals in excess of $150 million for the likes of Madonna and Jay-Z. For all intents and purposes, Madonna and Jay-Z are the last folks that need development into rockstars -- HELLO?!? That begs the question of whether the potential pay-off from newer artists is worth the risk. Only time will tell.