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October 6, 2009 4:00 AM PDT

Did Viacom find smoking gun in YouTube case?

by Greg Sandoval
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Lawyers working on a $1 billion copyright lawsuit filed by Viacom against Google's YouTube may have uncovered evidence that employees of the video site were among those who uploaded unauthorized content to YouTube.

In addition, internal YouTube e-mails indicate that YouTube managers knew and discussed the existence of unauthorized content on the site with employees but chose not to remove the material, three sources with knowledge of the case told CNET.

The e-mails, according to the sources who asked for anonymity because of the ongoing litigation, surfaced during an exchange of information between the two sides of the legal dispute. They are one of the cornerstones of Viacom's case, as well as that of a separate class action lawsuit filed against Google and YouTube by a group of content owners, the sources said. The group includes a European soccer league and a music-publishing company.

Such evidence could be a major blow to YouTube's defense. If managers possessed "actual knowledge" of copyright infringement on the site and did not quickly remove it, the company may not be entitled to protection under the Digital Millennium Copyright Act's safe-harbor provision, according to legal experts.

"The facts you described could very well be the smoking gun that puts a hole through Google's case," Roger Goff, an entertainment attorney not involved in the case, told CNET News. "(If the facts are accurate), Google will have a very difficult time claiming that (its staff members) don't undermine its protection."

The provision, established in 1998, was designed to give online services a measure of protection from liability for infringing materials uploaded to their sites--as long as they meet a certain criteria, including:

  • (A)(i) The services don't have actual knowledge that the material, or an activity using the material on the system or network, is infringing.
  • (ii) in the absence of such actual knowledge, is not aware of facts or circumstances from which infringing activity is apparent; or
  • (iii) upon obtaining such knowledge or awareness, acts expeditiously to remove, or disable access to, the material.

The entertainment industry has been skeptical about YouTube's claims that it did not have knowledge of the once-plentiful amounts of infringing content available on the site. Clips from popular TV shows, feature films, or sports events would often bubble up in YouTube's Most Viewed or Most Discussed sections.

It should be noted that the correspondence described by sources likely make up only a sliver of the material exchanged, and there's no way to know the full spectrum of internal discussions regarding copyright at YouTube.

"The characterizations of the supposed evidence, made in violation of a court order, are wrong, misleading, or lack important context and notably come on the heels of a series of significant setbacks for the plaintiffs," Aaron Zamost, a YouTube spokesman, said Monday evening. "The evidence will show that we go above and beyond our legal obligations to protect the rights of content owners."

Any questions about what YouTube employees may or may not have uploaded to YouTube must also be asked of Viacom's employees. Court documents show that on August 25, Viacom agreed to turn over records that shed light on "Viacom's decisions to upload or authorize the uploading of videos to YouTube" and on the company's policies "for allowing videos to remain on YouTube for marketing promotional or other business reasons."

This suggests that Viacom employees also uploaded clips to the site. A company representative declined to comment.

YouTube's argument: How is it supposed to know the difference between pirated and legally uploaded clips when companies like Viacom are among those uploading material?

Viacom has long acknowledged that it was one of the first to promote shows online by posting clips to YouTube. But the conglomerate has also said the uploading of clips does not undermine or diminish its copyright claim.

YouTube's counterargument has always been, how is the company supposed to know the difference between pirated and legally uploaded clips when companies like Viacom are among those uploading material?

Google acquired YouTube for $1.65 billion in October 2006, a price tag that set the bar for Web 2.0 acquisitions. Long before that, many in the film and television industries claimed that YouTube was building a big audience by enabling people to pirate professionally produced television shows and films.

Since Viacom first filed its suit in March 2007, accusing Google and YouTube of encouraging users to commit intellectual-property theft, many online services and entertainment companies have closely watched the case because of its broad implications. What the YouTube-Viacom suit could help settle, to some degree, is who is responsible for policing and initiating the removal of pirated materials--the copyright owners or the operators of online services?

But should the case ever go to trial, the outcome may be less significant than legal experts once predicted. While the lawsuit has meandered in the courts for 30 months, other legal battles featuring companies with less marquee value have already gone a long way toward determining Web services' key issues surrounding copyright.

Two weeks ago, U.S. District Judge A. Howard Matz issued a decision saying video site Veoh was not responsible for copyright violations committed by users because it was entitled to protection under the DMCA. Universal Music Group, the world's largest record company, had filed a copyright suit against Veoh that experts said was very similar to the YouTube-Viacom case. Matz's decision appeared to set an important precedent that would help YouTube and Google argue against Viacom, the parent company of MTV Networks and Paramount Pictures.

"The issue is whether Veoh takes appropriate steps to deal with copyright infringement," Matz wrote. He concluded that it had.

YouTube supporters cheered Matz's ruling, believing that it would apply to YouTube's situation because the Web's largest video site had long established and enforced a "takedown policy," whereby the company removed infringing content, once notified by a copyright owner. And later, the video site took steps not required by the DMCA by establishing a state-of-the-art filtering process that helps block material from being uploaded to the site.

But attorneys for Viacom and members of the class action are expected to argue that YouTube's filtering system is a gaping hole in YouTube's defense. One of the major complaints that content owners had about YouTube was that before the company launched its filtering technology, they were forced to file takedown notices for every instance of infringement. In some cases, an entertainment company could remove a popular clip, only to see someone else upload it again seconds later.

Lawyers for Viacom and the class action group are expected to argue that if YouTube was notified that a specific clip was pirated, and had the power to prevent copies from going up but did not act to remove them, the company violated the DMCA.

The plaintiffs use as evidence a paraphrased statement from Chad Hurley, YouTube's CEO, and one of its three co-founders, which appeared in The New York Times in February 2007, the sources said.

"(Hurley) said the company was still working on its filtering technology," the Times wrote. "He said it had agreed to use it to identify and possibly remove copyrighted material from Warner Music, and it would discuss a similar arrangement with Viacom as part of a broader deal."

A Viacom representative said at the time, "They are saying we will only protect your content if you do a deal with us--if not, we will steal it."

The YouTube-Viacom suit is unlikely to go to trial before next year. Certainly, with YouTube wooing entertainment companies as it attempts to battle Hulu, Netflix, Crackle, iTunes, and other digital-video outlets, there exists the possibility that YouTube and Viacom will come to some kind of settlement.

A settlement might be anticlimatic, but could be the best for all concerned.

Originally posted at Media Maverick
January 17, 2009 3:52 PM PST

At Sundance, Web pioneers see 'on-demand revolution'

by Michelle Meyers
  • 1 comment
Kara Swisher

Kara Swisher, of All Things D, opens a Sundance Film Festival panel Saturday called "Where Do We Go From Here: Icons of the Digital Age."

(Credit: Michelle Meyers/CNET News)

PARK CITY, Utah--As Hollywood stars drew crowds to the screening rooms here at the Sundance Film Festival, several Web media pioneers--celebrities in their own right-- also got the spotlight Saturday at a panel focused on the future of entertainment in the Digital Age.

Moderated by All Things D's Kara Swisher in her fourth such Sundance engagement, the panelists were Netflix founder and CEO Reed Hastings, YouTube CEO and co-founder Chad Hurley; and Jason Kilar, CEO of Hulu, which is NBC Universal and News Corp.'s joint online video venture.

Each had a somewhat different take on how they imagine consumers in the upcoming decade will view their entertainment. But their overriding themes were one and the same: users will be in control.

Gone are the days of some TV programmer deciding what time slot consumers will view a particular show. Same goes for theater owners dictating show times. As they are already doing, consumers will seek out their own content and will play or stream it when they want it, where they want it, and on the device or their choosing. As Hastings put it, it's an "on-demand revolution."

Chad Hurley

YouTube founder and CEO Chad Hurley.

(Credit: Michelle Meyers/CNET News)

"The linear broadcast model of today is going to disappear" relatively quickly, said Hurley, who later noted that distribution on mobile devices is the fastest-growing part of YouTube's business.

In full embrace of the "consumers choose" mantra, Hulu actually lets users choose the advertisements they want to watch.

The key, however, will be helping consumers "discover" content, the panelists said--"discovery" being an industry buzzword of late for both video and music aggregators and sellers.

Hastings pointed out that most Sundance films, for example "are not going to be loved by 2 million Americans," or enough to justify national distribution. So for filmmakers who are now able to distribute their work cheaply via the Web, it will be about targeting the right audience communities.

Of course, that's where social networking will continue to be important, they agreed, whether it's done through major social-networking sites like Facebook or MySpace; through social-networking functionality built into sites like Hulu, Netflix, and YouTube; or something in between (i.e. Friend Connect or Facebook Connect).

Reed Hastings

Netflix CEO and founder Reed Hastings.

(Credit: Michelle Meyers/CNET News)

"We will never be as good as the world at surfacing content for the individual," Kilar said, alluding to social networking as a tool for recommending videos. However, he added, Hulu isn't "aspiring to be a social utility."

Hastings hopes the digital realm can get to a place where customers can better weed through the content that's out there. For example, right now, about two out of every three shows or films you see are just "eh," Hastings said, and one out of every three is "wow!"

"If we can collectively shift it to two out of three is "wow," he said, consumers will have a better experience and will likely take in more content.

Looking deeper into their crystal balls, the panelists envision continued improvements for users, with expanded broadband and Wi-Fi offerings, new business models that fairly compensate content makers, and distribution experiments that might one day lead to films going out on the Web and DVD at the same time as they make their theater premieres.

All of the above, however, will require companies to continually concentrate on the user experience, they agreed.

The days of living room entertainment are not likely to go away, they also agreed, with Kilar citing a statistic that more content is viewed in the living now than last year. "I don't see that going away soon." It will just be viewed in different ways, he said, perhaps via a large Internet-connected monitor.

Jason Kilar

Hulu CEO Jason Kilar.

(Credit: Michelle Meyers/CNET News)

In closing, Swisher asked the panelists to reflect on their favorite gadgets and a device they'd like for the future.

Kilar, who said his favorite gadget is a Flip Mino, hopes someone will manufacture an "open" plasma TV that doesn't come with the standard "walled garden."

Hastings, whose favorite gadget is an Xbox on which he plays video games and watches movies with this son, hopes to one day see an iPhone "with good reception."

Hurley, for his part, loves the Wii and his iPhone, and looks forward to seeing a large iPod that would be a sort of big-screen media player.

Click here for more stories from Sundance.

September 16, 2008 9:53 AM PDT

Who would pay for Chad Hurley's video vision?

by Greg Sandoval
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Chad Hurley's vision of the future has video taking a much more integral part of people's lives than it does now. Not surprisingly, at the center of this vision is YouTube.

I'm not convinced.

Hurley posted his ideas on Google's Official blog. He said that video will continue to grow exponentially.

"Our goal is to allow every person on the planet to participate by making the upload process as simple as placing a phone call," Hurley wrote. "This new video content will be available on any screen--in your your living room, or on your device in your pocket."

It's easy to see why Hurley is so bullish on Internet video's future. Every second about 13 hours of video is uploaded to the site, Hurley said. Look at the impact YouTube has had on politics, entertainment, and news reporting. No major political candidate can afford to ignore YouTube's power to spread messages and influence young people.

TV networks and film studios continue to wrestle with members of the public uploading clips of shows and displaying them to millions of viewers without permission. Amateur news videographers have the power to disseminate reports to millions thanks to YouTube.

Yet, even with all these achievements, YouTube still is unable to eek out an acceptable profit, its management has acknowledged.

I think YouTube is one of the greatest communication methods of all time. To watch people living in Iraq communicate with me about their lives--without news agencies filters--is nothing short of a marvel. But on a day to day basis, it's still often hard to wade through the endless mass of clips to find something worth watching.

In sizing up how far Web video has come, Hurley takes a few liberties. "What used to be a gap between 'professional' entertainment companies and home movie buffs has disappeared," Hurley wrote.

If he's saying that any amateur can pick up a camera and now has a chance to reach a large audience, he's absolutely correct. If he's saying that the quality level is the same he's badly mistaken. People still want premium content. They still want to see the products made by the country's best writers, directors, actors, and producers more than they do clips of Aunt Helen wiggling her ears.

Need proof? Check out the skyrocketing growth of Hulu. The Web video portal created by NBC Universal and News Corp. features content from those two entertainment companies as well as other top entertainment companies. According to reports, Hulu is said to be generating the same ad revenue as YouTube, even though the latter company has been around much longer.

My point is, for Hurley's vision to be realized, someone is going to have to pay for it. What has to be answered is whether there is even a market for the kind of all-around video availability that includes Hurley's vision of "on any screen--in your living room, or on your device in your pocket."

Hurley should be more concerned with proving his current model before worrying about the next one.

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