Watchdog Group Uncovers 300 Apparently Pirated Films Viewed More Than 22 Million Times

The National Legal and Policy Center (NLPC) sent a report to members of Congress
detailing their research effort to examine the extent of apparent copyright
violations on Google Video.

Earlier this summer, the National Legal and Policy Center (NLPC) researched the extent of copyrighted material being hosted on Google Video and released a "Top 50" list of apparently copyrighted movies. In the latest "spot check" of the site conducted from September 10 to September 18, NLPC says it discovered 300 additional instances of apparently copyrighted
films, including more than 60 movies released this year.

Several popular summer releases including Shrek the Third, Oceans Thirteen, The Bourne Ultimatum, and Knocked Up were easily found on the video sharing site, the oranization says. Receiving more than 22 million views in the past year, the 300 apparently pirated films as
well as many other copyrighted works continue to make their way to Google Video despite Google's cited claim that it respects the rights of copyright holders and is continuing to take the lead in providing state-of-the-art tools for all copyright holders to identify and remove their intellectual property from the site, the watchdog group says.

"While Google faces numerous legal challenges related to the posting of copyrighted content on its video sharing websites, there is also a growing chorus who believe that evidence of Google's seemingly indifferent attitude towards Internet video piracy has resulted in a legitimization or
'mainstreaming' of video piracy which will have broad and damaging implications for all intellectual property owners," the letter, signed by NLPC Chairman Ken Boehm, accompanying the report reads. "We share those concerns."

"Since [we originally identified evidence of copyright infringement], the number of apparently copyrighted movies being hosted by Google Video appears to have grown substantially," the letter adds. "During the past two weeks, NLPC again conducted random spot checks of Google Video in an attempt to identify clearly copyrighted works that continue to be hosted on
the site. What we found raises serious questions about Google's oft-stated commitment to prevent apparently copyrighted content from being hosted on its video sharing site."

Boehm's letter also questions Google's repeated announcements that it intends to install video filtering technology on its video sharing services. "Google has been promising video filtering technology to screen for copyrighted content since at least the fall of 2006," says Boehm. "On
July 27 of this year, Google again announced that it would launch a filtering system by September of this year to prevent pirated material from being uploaded to its YouTube video sharing site. As of this Monday however, it appeared that Google still had not implemented the promised technology either for its YouTube or Google Video sites."

Estimates credit Internet piracy theft for nearly $2.3 billion in lost revenue to the U.S. film industry. "As you continue to debate intellectual property issues in the months ahead, we urge you to pay close attention to the 'mainstreaming' of video piracy by Internet leaders such as Google, and urge you to continue taking strong and enforceable measures to protect the
intellectual property of American businesses," the letter concludes.

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Emotional Resonance & Rocket Launchers: YouTube Should Become The Next Scifi Channel

A couple of years ago, I wrote a column above how much trouble it was to download episodes of the scifi TV series I had been missing. I predicted it would take at least a few years for the technology and business models to shake out so that viewing Internet video would be as easy as watching television.

That day is fast approaching.

The TV networks are falling all over themselves to push you to their websites to watch reruns of your favorite shows and broadband capabilities have expanded to make watching them more seamless.

I, myself, have more recently come into the Web video world myself as content manager of Energy Policy TV, a website that's sort of a CSPAN for energy and the environment. As both a consumer and distributor of Internet video I'm astounded on a daily basis on how this market is moving.

In the realm of science fiction, as with most scripted TV series, big studios still control the content. Episodes may now live on the Web, but if some Hollywood executive axes a series, that video will still certainly dry up and we fans are still on the outs.

The Internet offers a different approach, however. We've heard for years how scifi is mostly a "niche" audience. Fair enough -- the Internet is absolutely designed to serve such niches.

A couple of years at a scifi convention, author and one-time Star Trek writer David Gerrold was describing how the costs for professional-quality gear -- the cameras, CGI generators, etc. -- were coming down dramatically on the production side of the equation.

The rise of Internet video now puts the distribution side of the equation in more and more hands, as well.

Fans have already begun making use of this convergence, of course. Several groups have sprung up in recent years that produce fan-produced Star Trek episodes, with fans also playing the major characters.

These projects, however, are the video equivilent of fan fiction -- there is no profit motive in it.

But what if an entrepreneurial producer were to take this to the next step?

What if someone were to tap some forward-thinking investors to create a for-profit, original Internet scifi series?

The idea would be to avoid Hollywood altogether. Hollywood has no monopoly on talent -- either in front of, or behind, the camera. Hire a cast and crew -- not for blockbuster salaries, but enough to live on comfortably.

Create special effects are that aren't Lucasfilm-level, but are of good quality and are good enough. Then sell advertising around the whole thing to pay the bills.

Take the whole enterprise, so to speak, directly to the fans -- I think they would respond overwhelmingly.

This new Web series would find its fans, who would feel a direct connection and investment with this sort of production precisely because they are closer to it -- they will not be separated by huge corporate entertainment conglomerates.

And more good science fiction would find its way into the world.

Any takers?

A former entertainment journalist, Scott Nance has been active with the USS Chesapeake Star Trek/scifi club for more than a decade.

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Tech Buzz: Internet Spawns Wealth of Talent

Time was when would be stars had to move cross country and wait tables in Hollywood while auditioning and waiting for their big break. Today, all it takes is posting a video to YouTube and kicking back in your living room waiting for the offers to roll in.

Among its many innovations, the Internet has made it much easier for talent to be discovered.

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Television 'Running Circles' Around Movies, Newsweek Says

In the current issue of Newsweek, Senior Editor Devin Gordon writes that there is a new "golden age of television" right now that is running circles around Hollywood.

"For decades, if film was the Four Seasons, TV was a Motel 6," he writes. "You worked in television for the money, or to reboot your career, or just to hang on. Now actors like Alec Baldwin, Steve Carell and Salma Hayek go from hit movies to network-TV gigs, and no one thinks they're nuts."

Gordon writes that the difference now with this age is TV is challenging movies on their own turf -- narratively and visually -- and winning.

"The best shows tell their stories slowly, carefully and withexquisite detail, putting viewers inside the experience of another person with unparalleled intimacy. This is the grand achievement of 'The Sopranos,' and it's why the show's final season, which begins on April 8, is a safe bet to be the cultural happening of the year," Gordon writes inthe February 26 issue of Newsweek (on newsstands Monday, February 19).

Others weighed in on the debate:

* Actor Denis Leary tells Newsweek that it was an episode in the first season of "The Sopranos" that changed his notions about what television could be. It was the episode where Tony Soprano is driving Meadow to visit colleges and he runs into a snitch along the way and ends up brutally strangling him to death with a coil of wire.

"I remember watching that and thinking, 'Oh, my God ... '," Leary says. "I don't think I blinked that entire episode. The show ended at 10 o'clock, and at 10:05 the phone in my apartment started ringing off the hook. That's when I thought, 'If they can do this, you can do anything in this format'."

* Megamovie producer Brian Grazer, an Oscar winner for "A Beautiful Mind" whose company, Imagine Entertainment, also co-owns "24," says the economics of the movie business have created a climate of "paranoia" in Hollywood.

The average film budget, according to the latest Nielsen figures, is about $60 million, with an additional $36 million in marketing costs. That means the typical Hollywood film is a $100 million bet-with the money paid upfront, before anyone sees a penny in return. That kind of environment has a stultifying effect on artists. "They begin to worry that their movie will never get made, that they'll never hear 'yes' again," Grazer says, "so they end up being much more accommodating to an executive's opinions."

* Carlton Cuse, an executive producer on ABC's "Lost," says in television "the writer is king. We're at the top of the food chain." In the film world, the director is in charge, or the star. "It's almost impossible to write a movie with a big star and not have that person put his or her thumbprint on top of it," Cuse says.

* Last year, when Larry McMurtry and Diana Ossana shared a screenwriting Oscar for "Brokeback Mountain," McMurtry thanked his typewriter. During an interview, he grumbles while Ossana sings the praises of modern TV.

"It's not a question of quality," McMurtry responds. "It just means the prestige is still with film, and I suspect it always will be. Put it this way: I'd rather have an Oscar than an Emmy."

* "The movie business is still caught up in how it's always been done," says Todd Wagner, co-president of 2929 Entertainment ("Good Night, and Good Luck"), which has been leaning on studios to release films on several platforms-in theaters, online and on DVD-at once. "Film is still built around a business model where they're trying to get as many people as possible to see something on the very first weekend, at very select locations, for months before it's available any other way. Television isn't doing that. The realization they've come to is, why wouldn't you put it out there?"

* Hollywood is determined to protect the "specialness" of movies, Gordon writes, and if you can get them any time, anywhere, how special can they be? "There's always going to be that excitement where you think, 'Oh, I made a movie! And it's gonna be at a theater! And people will be eating popcorn!'" says Tina Fey, who wrote the 2004 hit "Mean Girls" and created the NBC sitcom "30 Rock." "It's just different."

* "The people working in television right now are the Shakespeares of the medium," says Ira Glass, host of the public-radio program "This American Life," which has been turned into a jewel of a TV series on Showtime and will start airing on March 22. "That's probably a pretentious thing to say, but I also think it's true. It's true in the same way that Leonard Bernstein was figuring out what you could do with a Broadway show when he wrote 'West Side Story,' or in music when Sinatra recorded his Capitol albums."

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