DMCA hearings: medical devices

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
John Morris (NTIA)
 
Proposed Class 27: Software – networked medical devices
The proposed class would allow circumvention of TPMs protecting
computer programs in medical devices designed for attachment to or implantation
in patients and in their corresponding monitoring devices, as well as the
outputs generated through those programs. As proposed, the exemption would be
limited to cases where circumvention is at the direction of a patient seeking
access to information generated by his or her own device, or at the direction
of those conducting research into the safety, security, and effectiveness of
such devices. The proposal would cover devices such as pacemakers, implantable
cardioverter defibrillators, insulin pumps, and continuous glucose monitors.
 
Proponents: Andrew Sellars, Cyberlaw Clinic, Berkman Center
for Internet & Society, with
Benjamin West, computer researcher/software engineer
 
Sellars: designed to ensure that ongoing research can
continue now that devices, largely at the suggestion of independent researchers,
have begun to adopt TPMs.
 
West: Type 1 diabetes; use a variety of medical devices
incl. insulin pumps and continuous glucose monitors; they contain a wealth of
important info, but that’s delayed or even unavailable to me. So I started
investigating how they work. There’s a sensor under my skin for the CGM and a
handheld receiving computer that displays current value and trends.  My collaborators and I are likeminded
patients or parents of patients who used reverse engineering to analyze data.
Vendor’s own software can retrieve up to 3 months; we used hardware and
software to create transcripts. Community as a whole obtained valuable info on
device that’s not always shown or available to patient. The delta: difference
between current and five minutes ago.  We
were able to provide that to patients and show it on mobile phones.
 
Q: why is that important/useful to you?
 
A: there is a display w/current number; depending on what
that number is, I may need to take action—leave the room, take medicine.  B/c it’s changing all the time, getting a
sense of changes is very important. Changing 1 point v. 10 points in five
minutes is an important cue for what I need to do; v. “trend” is just up or
down, no numerical value. People can now miss less school w/ remote monitoring
which required more than the device, it required the mobile display. 
 
You can be ok for the next three hours, but it’s difficult
to predict beyond that, so you need action every three hours. Too much insulin
could be harmful. Schools aren’t always prepared. The mobile device allows
parent to monitor and keep in touch w/people taking care of child.  These are often scenarios where the child
might be withheld from school, or walks w/grandparents, or sleepovers. Remote
monitoring allows someone to keep track remotely and allow the school or trip.
 
Q: the child has the info too?
 
A: children younger than 14 typically don’t perform the
therapy.  They’re usually not monitoring
themselves to do it on their own.
 
Q: do they take a phone or device that is the monitor
w/them?
 
A: typically: we provide the child a rig, in their bookbag
or a belt, and that stays w/them. Someone else then provides the interpretation
and tells them what to do and coordinates the care w/someone present. If a
child is low during school, parent can call and tell them to pull kid out of
gym class to give them sugar if they have too much insulin.
 
Q: specific children who took advantage of this?
 
A: we have a FB group called CHM in the cloud, w/12,000
members. Around 4000 have adopted this kind of system. Very popular.
 
We also want to check the number for being stale or
inaccurate; there are a variety of reasons that could happen like a new
insertion or dehydration. But device/sensor data is still available. Our
research has been able to get the raw data out of the device; otherwise you’d
get none at all.  Metadata can be used
accurately to estimate glucose. Our research also figured out what could cause
inaccurate/false readings, like pressure on the insertion—the raw data can tell
you what’s inaccurate or when the device is beginning to fail.
 
Current version is unencrypted, but the next version—already
sold overseas and soon to replace our devices in the US—has encryption. I’m
asking for this exemption so the work we’ve done to improve quality of life can
continue.
 
Q: Is all you’re doing pulling data? Are you changing the
software in any way?
 
A: Right now, our design behind all of this is to read only.
We are not affecting behavior of device. We’ve gone to great lengths to match
exactly what the vendor itself does to monitor the device.
 
Q: so is an exemption necessary if only data is being
accessed?
 
Sellars: on many devices on the market, and on more coming
out, even accessing data requires circumventing a TPM. Some of these devices
have protectable and unprotectable outputs; largely depends on selection of
info.  Also, West is one of four types of
researchers analyzing source code/outputs. Some is personal safety/monitoring.  Sometimes cardiac event symptoms can be
indistinguishable from day to day events like fatigue or dizziness. My device
knows but wouldn’t necessarily let me know.

Q: is West’s device about cardiac symptoms? Is the info West is addressing the
sort of data that anyone has asserted © of?
 
A: statements of Advamed and manufacturers have asserted
rights over SQL databases and the like. Also, some data is batched; which
leaves greater room for claims about selection/arrangement. 
 
Q: is there any detail on this?
 
A: Advamed asserts © on West’s device. In many cases it’s
not clear whether the data would be protected. Where a court could find a work,
the exemption is appropriate.
 
Q: are you accessing data off the sensor only or the vendor’s
monitor/data there?
 
West: it’s both. Several projects.
 
C: Are you able to audit your device?  Are you printing out a report?  How are the data presented? [Excellent use of
plural!]
 
West: Glanceable data—I have a watch I use.  We also store all the information in a
database, owned and controlled by the user. 
The device has a database in it already. We’re pulling out the records
from that, then duplicating and storing in our own DB.  Our DB is off the shelf open source.
 
Sellars: let’s point out that extracting data is fair
use/noninfringing use—copy made to perform extraction in house is fair use.
 
Some of the other uses in the coalition: Radcliffe,
researching security of these systems, particularly insulin pumps/continuous
glucose monitors. Opponents stipulate his research spurred reform.  Heart monitors that often don’t share data
w/patients except for 60-90 days later. 
If I told you you shouldn’t eat what you ate for lunch on Feb. 28, you
would probably not be able to figure out what went wrong.  Researchers can get info more regularly,
often daily, to figure out effects of what you eat and do.  Karen Sandler: research into security at
software level.  She published a study, “Killed
by Code,” which goes into vulnerabilities and reform.  Something often missed in the discussion of
medical device security: while we always look to espionage/hackers for romantic
reasons, what Sandler & Moy showed is that what affects patient lives most
is bad code, design flaws, power management issues, restart that doesn’t tell
anyone and thus doesn’t function right. 
Recall history: hundreds of recalls per year for software issues on
medical devices, w/deaths attributable in the 100s. While attention has been
given to vulnerability intrusion, the more fundamental concern is the devices
not working properly. Having more people studying and testing and simulating
environments always tends to improve health.
 
We are also in an area of regulatory overlap. FCC, FDA,
Homeland Security all have regulatory roles. 
As has been said many times by this Office and as a matter of good
practice, primary responsibility here should be about noninfringing uses. On the
questions of copyright and piracy, the opposition commenters offer next to
nothing on whether there’d be piracy. Software can’t replace the need for the
device itself—the source code of a pacemaker is not a pacemaker.

C: regulatory compliance isn’t a copyright issue, but isn’t it a bigger
concern?  [For the FCC/FDA?]
 
Sellars: While I agree that the opposition said that, they
offered no substantiation. Opposition misses that the research is happening
now, it’s standard, and the FDA not only tolerates it but promotes it—holds hearings
inviting independent researchers to improve their regulations. When a person
discovers a vulnerability, there’s a FDA reporting mechanism, and there’s also
a reporting mechanism for Homeland Security. 
The history of the research completely refutes the suggestions of
opponents.
 
Q: would you accept a reporting requirement limiting the
exemption?
 
A: Disclosure has been suggested. While I agree that the
standard course is vendor-first, there are times when it’s appropriate to go to
someone else, to an agency or to the press, for example when a vulnerability
isn’t related to something a hacker could use but just a design flaw: tell the
world there’s a problem w/the device. We also have a sad tradition of medical
companies knowing about problems and not telling the public until after a
tragedy.  Cited in the record.  Hardware problem known for 3 years but they
didn’t tell people there was a problem until a 21-year-old man died and the NYT
uncovered knowledge. Wired stories about Hospira pumps w/known vulnerabilities,
not addressed until Wired was ready to publish. 
While the medical companies wish to be proactive, they are at times
unfortunately reactive. It would be a bad policy, and also raise serious concerns
of unconstitutional conditions if a benefit, even a discretionary one, is
premised on a speech based restriction—and restricting the audience is a
serious content based restriction as 10th Circuit said in US v.
West.
 
Q: will the exemption be able to pull data from devices that
could otherwise be subject to test/exclusivity laws that would be submitted to
regulatory agencies? Where it’s pending approval?
 
A: experience shows there are postmarket and premarket
issues. FDA has a couple of options for a new device, from notification to
premarket approval.  Often at funding of
mfgrs, and studies show that industry-funded studies have an industry bias. A
lot of issues found are on devices already in the market.
 
Q: You are asking for data readouts from actual patients as
well as security/vulnerability testing: explanted devices for the latter that
wouldn’t be used again?
 
A: that is our proposal, but the two exemptions are linked,
as West’s comments noted. When you’re accessing device data from a patients,
you often learn how the device functions, for example the CGM error related to
pressure. 
 
Q: I see them as distinct but blended requests. Scope in one
case is in use by patients, and not in use in another.  Concern over fact that tested devices shouldn’t
go back into clinical use.
 
Sellars: my understanding is that tests out of package make
device unsterile. 
 
Sherwin Siy, Public Knowledge: Copyrightability—Advamed/opponents
have made © claims; our uses would be fair uses/uses of uncopyrightable
elements. © works are contained in software and those works will be accessed,
if not necessarily copied, through these uses. 
Copies may be made in RAM for testing, and modifications might be made
in the course of testing.
 
C: what are the other sources of law relying on to access
those works or data compilations?
 
Siy: access isn’t itself an infringing use.  Essential step copies would be §117, as would
modifications in use.  Even if the
software itself isn’t “owned” by the patient, fair use applies incredibly
strongly.
 
C: do you know what the practice is in terms of what mfgrs
say?
 
Sellars: they own the software ©; we have no evidence
suggesting anything other than the patient being the owner of the chattel device.
There is no license. That speaks to the lack of an aftermarket as well.  There is no reasonable way to lose ownership
of a pacemaker [if a so-called ‘license’ were revoked].
 
Siy: written submission covers issues of reverse
engineering. The existing statutory exemptions might apply, but they don’t cover
the field.
 
Laura Moy, New America’s Open Technology Institute: Record
from multiple parties: vulnerabilities need to be discovered to fix them; there’s
no other way to do it. We know there are serious bugs and other
vulnerabilities. Code inevitably has bugs; eliminating them before going on the
market is almost impossible.  Bugs can
lead to death.
 
C: Inappropriate third party access?  If you circumvent can you get into other
patients’ records? Is that a real possibility, and how would we address that?
 
A: I’ve seen nothing to suggest that researchers are looking
somehow at mfgr’s multiple-patient database records.

Sellars: Best paper on these concerns is Daniel Halperin & Kevin Foo &
others addressing pacemaker vulnerabilities. He noted privacy concerns—my understanding
was that the data is unidirectional, going to the server. He didn’t uncover any
way in which you could use a device to access the servers of Medtronic etc.,
and oppositions didn’t suggest any way this could happen. Anyway this is
regulatory overlap, with CFAA. That’s not a copyright problem.
 
C: Are you saying it’s not possible to access a central
server with an individual medical device? Is that a possibility? Could
circumvention allow you to do that?
 
A: I haven’t found a situation where that’s possible.
Unidirectional.
 
Moy: also the result of my research. Where info is broadcast
in the clear, the reason is so the hospital can get it easily. That’s how
sensitive patient info goes.
 
Q: could you configure devices to transmit only data
transmitted by design?  Could we bar
something like battery drainage from triggering transmission of data beyond
ways mfgr designed it to transmit?
 
Moy: security research w/individual devices typically done
on explanted device, so drainage is not typically a concern. Performing
vulnerability research is something that can prevent battery drainage/other
vulnerability from exploitation in the future. 
 
C: but there was another claim that pinging a device a lot
could drain a battery. [© Office as design engineers.]
 
Sellars: that’s an implant v. attached device issue.  Batteries for outside devices are
replaceable. Ways in which getting info can be quite relevant to patient care.
Turning to pacemakers, the research to date largely concerns passive
interception.  There are devices called
interrogators [yikes!] in hospital environments.
 
C: I’m not a medical device researcher, but I don’t feel
like that answered my question. 
Pacemakers have limited battery life, hard to replace: you circumvent a
TPM and you are making your own interrogator much more frequently than
contemplated by manufacturer—could drain battery in unexpected way. How would
you address that concern?  [Um, not with ©?]
 
Sellars: hard to figure out what the concern is. Repeated/continuous
interrogation can drain battery, but these sorts of experiments for better
access are often done in collaboration w/a doctor: informed consent and the
judgment of the doctor is part of our proposed language.
 
C: but one of the pitches was immediate access to the data?
[depends on what it is you want to do!]
 
Sellars: that’s a distinction b/t types of projects.  People concerned about cardiac events/better
data access would consult w/doctors.

West: you can’t build an interrogator by accident. 
 
C: You might know that, but a naïve person might not.
 
West: to create that device, they have to build it to drain
the battery.
 
C: but the opposition’s concern is that some heart patient
might not know about their home interrogator’s negative functions. That person
might not realize that reading their data frequently could drain their battery
in a dangerous way. We’re not the FDA here, obviously, but we’re trying to
understand the parameters of the exemption.
 
West: it seems like informed consent would be important
there.
 
C: who would be doing the informing?
 
West: the installer?
 
Sellars: note that there are no TPMs preventing this today,
and it is not happening. Instead we see passive interception.  Siy said: the device is often accompanied
w/monitor and base station. I’d find the concerns completely unfounded. They’re
pretending like this activity isn’t happening yet and TPMs are the only
barrier, but there are lots of unencrypted devices now.
 
Q: would it be appropriate to limit exemption to passive
monitoring for implanted devices?
 
Siy: No. Oppositions suggest hypothetical drain in certain uses;
drawing a bright line rule based upon what’s being transmitted rather than
characteristics of battery seems a poor fit. Many of the problems we’re seeking
to address come from insufficient information received through existing process
dictated by manufacturer.
 
Q: is there are scenario where there is an implanted glucose
monitor w/ a ten year battery life expected, but using your technique to gather
additional data, it might only have an eight year battery life, requiring extra
surgeries?  Could a patient decide the
extra information is worth having that more regular surgery? Are there scenarios
where the additional information would be a decision the patient would want to
make for themselves?
 
West: absolutely conceivable. You could also come up with an
auditing technique that would make the device last longer—that’s an equally
probable alternative.  Or you could
provide much better value.
 
Sellars: Personalizing and customizing care is in accordance
w/national policy. Consider patient more as individual—better health outcomes.
 
Moy: Doctors and patients should be able to weigh concerns
about device vulnerability in their decisions. They have a right to know,
especially for implantation, and disclosure helps informed choice. Info about
security research could affect cost/benefit analysis, says one opponent—but that’s
precisely as it should be! One of the researchers in this area got into it
precisely to engage in her own cost benefit analysis for her medical decision.
 
Other agencies like this: FDA is informed by security
research. FDA’s additional security steps respond to important work of
independent device researchers.
 
C: record suggested that a lot of devices don’t currently have
TPMs, and FDA has stepped up its interest. Can you say how many devices
currently have TPMs?
 
Sellars: pp. 6-8, citing vendors themselves. We often have
to rely on vendors.  Some appendices
disclose others.  FDA issued new guidance
for devices in October strongly encouraging encryption.  When the FDA strongly encourages something,
that’s de facto law. It’s not conjecture; the FDA now wants it as part of
approval.
 
West: Medtronic’s pump is what I use; my next pump will have
encryption and I will lose access to the data.

Siy: to the extent the Office is concerned w/overlapping jurisdiction, this
research is already happening and TPMs are coming, altering the status quo.
What’s changing is that the FDA’s exclusive jurisdiction is now suddenly being
shared with the © Office and we just want to maintain the status quo research
environment.

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DMCA hearings: visually impaired/ereaders

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
Stacy Cheney (NTIA)
 
In and out: this took 15 minutes.  This exemption will, I predict, be granted.
 
Proposed Class 9: Literary works distributed electronically – assistive technologies
This proposed class would allow circumvention of access controls on lawfully made and acquired literary works distributed electronically for purposes of accessibility for persons who are print disabled. This exemption has been requested for literary works distributed electronically, including e-books, digital textbooks, and PDF articles.
 
Proponents: Blake Reid, Samuelson-Glushko Technology Law & Policy Clinic at Colorado Law
 
You’ve seen contentious exemptions and complicated issues; this one is very basic: the right of people who are visually impaired to read books. Basic human right, key to democratic society, uncontroversial renewal. We’re not asking for modifications, largely unapposed including AAP (notwithstanding reservations); circumstances have changed only marginally and circumvention is still necessary on individual and institutional level. Use is noninfringing, even more after HathiTrust; still very limited availability of noncircumventing alternatives. Only material changed circumstance is the Marrakesh Treaty, which makes this exemption necessary for compliance.
 
C: Thank you and students for helping to make a record in this class. It’s been very helpful to establish a need for an exemption.
 
Jonathan Band, Library Copyright Alliance: No one’s opposing.  Marrakesh Treaty point deserves to be reiterated: if treaty is ratified w/in the next 3 years, we need to have the exemption in place for compliance.
 
C: Can you elaborate on intersection of exemption and treaty?
 
Band: the treaty has a provision that countries need to have a way for visually impaired/authorized entities to circumvent to take advantage of any access authorized by treaty. Better to be statutory and not in need of renewal, but this would at least enable people to take actions authorized by Treaty.
 
Q: AAP mentioned epub and HTML5 format—could you provide more info?
 
Reid: we’re actually very hopeful about those formats someday being adopted on a widespread basis and provide a noncircumventing alternative in our lifetimes. Someday I may be able to avoid seeking renewal b/c all books come out in epub3 accessible, interoperable formats that work with text-to-speech and ereaders and braille readers. Unfortunate reality: not there yet, and not in next 3 years.  At this point, adoption is inconsistent; availability of titles in those formats and interoperability of titles purchased on particular platforms still isn’t there. I hope to have a different answer next time.
 
Band: even if we get to a point where all new books coming out meet that standard, you still have a legacy problem.
 
Reid: worth noting that addressing access to the archive will be a really hard problem. Every year that goes by w/o accessible format creates more archive that isn’t accessible. There are other challenges like user interfaces on tablets and phones; the tech has a long way to go. Encourage you to discuss w/relative, family member, friend who’s visually impaired—ask them how they use a tablet to access even a noncircumvented book.  You will think it’s broken: the computerized voice is bad; the tech has a long way to go. This exemption won’t fix everything, but it’s a helpful band-aid for folks looking to engage in self-help or to make books available to students or clients at an authorized entity.
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DMCA hearings: medical devices

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
John Morris (NTIA)
 
Proposed Class 27: Software – networked medical devices
The proposed class would allow circumvention of TPMs protecting computer programs in medical devices designed for attachment to or implantation in patients and in their corresponding monitoring devices, as well as the outputs generated through those programs. As proposed, the exemption would be limited to cases where circumvention is at the direction of a patient seeking access to information generated by his or her own device, or at the direction of those conducting research into the safety, security, and effectiveness of such devices. The proposal would cover devices such as pacemakers, implantable cardioverter defibrillators, insulin pumps, and continuous glucose monitors.
 
Proponents: Andrew Sellars, Cyberlaw Clinic, Berkman Center for Internet & Society, with
Benjamin West, computer researcher/software engineer
 
Sellars: designed to ensure that ongoing research can continue now that devices, largely at the suggestion of independent researchers, have begun to adopt TPMs.
 
West: Type 1 diabetes; use a variety of medical devices incl. insulin pumps and continuous glucose monitors; they contain a wealth of important info, but that’s delayed or even unavailable to me. So I started investigating how they work. There’s a sensor under my skin for the CGM and a handheld receiving computer that displays current value and trends.  My collaborators and I are likeminded patients or parents of patients who used reverse engineering to analyze data. Vendor’s own software can retrieve up to 3 months; we used hardware and software to create transcripts. Community as a whole obtained valuable info on device that’s not always shown or available to patient. The delta: difference between current and five minutes ago.  We were able to provide that to patients and show it on mobile phones.
 
Q: why is that important/useful to you?
 
A: there is a display w/current number; depending on what that number is, I may need to take action—leave the room, take medicine.  B/c it’s changing all the time, getting a sense of changes is very important. Changing 1 point v. 10 points in five minutes is an important cue for what I need to do; v. “trend” is just up or down, no numerical value. People can now miss less school w/ remote monitoring which required more than the device, it required the mobile display. 
 
You can be ok for the next three hours, but it’s difficult to predict beyond that, so you need action every three hours. Too much insulin could be harmful. Schools aren’t always prepared. The mobile device allows parent to monitor and keep in touch w/people taking care of child.  These are often scenarios where the child might be withheld from school, or walks w/grandparents, or sleepovers. Remote monitoring allows someone to keep track remotely and allow the school or trip.
 
Q: the child has the info too?
 
A: children younger than 14 typically don’t perform the therapy.  They’re usually not monitoring themselves to do it on their own.
 
Q: do they take a phone or device that is the monitor w/them?
 
A: typically: we provide the child a rig, in their bookbag or a belt, and that stays w/them. Someone else then provides the interpretation and tells them what to do and coordinates the care w/someone present. If a child is low during school, parent can call and tell them to pull kid out of gym class to give them sugar if they have too much insulin.
 
Q: specific children who took advantage of this?
 
A: we have a FB group called CHM in the cloud, w/12,000 members. Around 4000 have adopted this kind of system. Very popular.
 
We also want to check the number for being stale or inaccurate; there are a variety of reasons that could happen like a new insertion or dehydration. But device/sensor data is still available. Our research has been able to get the raw data out of the device; otherwise you’d get none at all.  Metadata can be used accurately to estimate glucose. Our research also figured out what could cause inaccurate/false readings, like pressure on the insertion—the raw data can tell you what’s inaccurate or when the device is beginning to fail.
 
Current version is unencrypted, but the next version—already sold overseas and soon to replace our devices in the US—has encryption. I’m asking for this exemption so the work we’ve done to improve quality of life can continue.
 
Q: Is all you’re doing pulling data? Are you changing the software in any way?
 
A: Right now, our design behind all of this is to read only. We are not affecting behavior of device. We’ve gone to great lengths to match exactly what the vendor itself does to monitor the device.
 
Q: so is an exemption necessary if only data is being accessed?
 
Sellars: on many devices on the market, and on more coming out, even accessing data requires circumventing a TPM. Some of these devices have protectable and unprotectable outputs; largely depends on selection of info.  Also, West is one of four types of researchers analyzing source code/outputs. Some is personal safety/monitoring.  Sometimes cardiac event symptoms can be indistinguishable from day to day events like fatigue or dizziness. My device knows but wouldn’t necessarily let me know.
Q: is West’s device about cardiac symptoms? Is the info West is addressing the sort of data that anyone has asserted © of?
 
A: statements of Advamed and manufacturers have asserted rights over SQL databases and the like. Also, some data is batched; which leaves greater room for claims about selection/arrangement. 
 
Q: is there any detail on this?
 
A: Advamed asserts © on West’s device. In many cases it’s not clear whether the data would be protected. Where a court could find a work, the exemption is appropriate.
 
Q: are you accessing data off the sensor only or the vendor’s monitor/data there?
 
West: it’s both. Several projects.
 
C: Are you able to audit your device?  Are you printing out a report?  How are the data presented? [Excellent use of plural!]
 
West: Glanceable data—I have a watch I use.  We also store all the information in a database, owned and controlled by the user.  The device has a database in it already. We’re pulling out the records from that, then duplicating and storing in our own DB.  Our DB is off the shelf open source.
 
Sellars: let’s point out that extracting data is fair use/noninfringing use—copy made to perform extraction in house is fair use.
 
Some of the other uses in the coalition: Radcliffe, researching security of these systems, particularly insulin pumps/continuous glucose monitors. Opponents stipulate his research spurred reform.  Heart monitors that often don’t share data w/patients except for 60-90 days later.  If I told you you shouldn’t eat what you ate for lunch on Feb. 28, you would probably not be able to figure out what went wrong.  Researchers can get info more regularly, often daily, to figure out effects of what you eat and do.  Karen Sandler: research into security at software level.  She published a study, “Killed by Code,” which goes into vulnerabilities and reform.  Something often missed in the discussion of medical device security: while we always look to espionage/hackers for romantic reasons, what Sandler & Moy showed is that what affects patient lives most is bad code, design flaws, power management issues, restart that doesn’t tell anyone and thus doesn’t function right.  Recall history: hundreds of recalls per year for software issues on medical devices, w/deaths attributable in the 100s. While attention has been given to vulnerability intrusion, the more fundamental concern is the devices not working properly. Having more people studying and testing and simulating environments always tends to improve health.
 
We are also in an area of regulatory overlap. FCC, FDA, Homeland Security all have regulatory roles.  As has been said many times by this Office and as a matter of good practice, primary responsibility here should be about noninfringing uses. On the questions of copyright and piracy, the opposition commenters offer next to nothing on whether there’d be piracy. Software can’t replace the need for the device itself—the source code of a pacemaker is not a pacemaker.
C: regulatory compliance isn’t a copyright issue, but isn’t it a bigger concern?  [For the FCC/FDA?]
 
Sellars: While I agree that the opposition said that, they offered no substantiation. Opposition misses that the research is happening now, it’s standard, and the FDA not only tolerates it but promotes it—holds hearings inviting independent researchers to improve their regulations. When a person discovers a vulnerability, there’s a FDA reporting mechanism, and there’s also a reporting mechanism for Homeland Security.  The history of the research completely refutes the suggestions of opponents.
 
Q: would you accept a reporting requirement limiting the exemption?
 
A: Disclosure has been suggested. While I agree that the standard course is vendor-first, there are times when it’s appropriate to go to someone else, to an agency or to the press, for example when a vulnerability isn’t related to something a hacker could use but just a design flaw: tell the world there’s a problem w/the device. We also have a sad tradition of medical companies knowing about problems and not telling the public until after a tragedy.  Cited in the record.  Hardware problem known for 3 years but they didn’t tell people there was a problem until a 21-year-old man died and the NYT uncovered knowledge. Wired stories about Hospira pumps w/known vulnerabilities, not addressed until Wired was ready to publish.  While the medical companies wish to be proactive, they are at times unfortunately reactive. It would be a bad policy, and also raise serious concerns of unconstitutional conditions if a benefit, even a discretionary one, is premised on a speech based restriction—and restricting the audience is a serious content based restriction as 10th Circuit said in US v. West.
 
Q: will the exemption be able to pull data from devices that could otherwise be subject to test/exclusivity laws that would be submitted to regulatory agencies? Where it’s pending approval?
 
A: experience shows there are postmarket and premarket issues. FDA has a couple of options for a new device, from notification to premarket approval.  Often at funding of mfgrs, and studies show that industry-funded studies have an industry bias. A lot of issues found are on devices already in the market.
 
Q: You are asking for data readouts from actual patients as well as security/vulnerability testing: explanted devices for the latter that wouldn’t be used again?
 
A: that is our proposal, but the two exemptions are linked, as West’s comments noted. When you’re accessing device data from a patients, you often learn how the device functions, for example the CGM error related to pressure. 
 
Q: I see them as distinct but blended requests. Scope in one case is in use by patients, and not in use in another.  Concern over fact that tested devices shouldn’t go back into clinical use.
 
Sellars: my understanding is that tests out of package make device unsterile. 
 
Sherwin Siy, Public Knowledge: Copyrightability—Advamed/opponents have made © claims; our uses would be fair uses/uses of uncopyrightable elements. © works are contained in software and those works will be accessed, if not necessarily copied, through these uses.  Copies may be made in RAM for testing, and modifications might be made in the course of testing.
 
C: what are the other sources of law relying on to access those works or data compilations?
 
Siy: access isn’t itself an infringing use.  Essential step copies would be §117, as would modifications in use.  Even if the software itself isn’t “owned” by the patient, fair use applies incredibly strongly.
 
C: do you know what the practice is in terms of what mfgrs say?
 
Sellars: they own the software ©; we have no evidence suggesting anything other than the patient being the owner of the chattel device. There is no license. That speaks to the lack of an aftermarket as well.  There is no reasonable way to lose ownership of a pacemaker [if a so-called ‘license’ were revoked].
 
Siy: written submission covers issues of reverse engineering. The existing statutory exemptions might apply, but they don’t cover the field.
 
Laura Moy, New America’s Open Technology Institute: Record from multiple parties: vulnerabilities need to be discovered to fix them; there’s no other way to do it. We know there are serious bugs and other vulnerabilities. Code inevitably has bugs; eliminating them before going on the market is almost impossible.  Bugs can lead to death.
 
C: Inappropriate third party access?  If you circumvent can you get into other patients’ records? Is that a real possibility, and how would we address that?
 
A: I’ve seen nothing to suggest that researchers are looking somehow at mfgr’s multiple-patient database records.
Sellars: Best paper on these concerns is Daniel Halperin & Kevin Foo & others addressing pacemaker vulnerabilities. He noted privacy concerns—my understanding was that the data is unidirectional, going to the server. He didn’t uncover any way in which you could use a device to access the servers of Medtronic etc., and oppositions didn’t suggest any way this could happen. Anyway this is regulatory overlap, with CFAA. That’s not a copyright problem.
 
C: Are you saying it’s not possible to access a central server with an individual medical device? Is that a possibility? Could circumvention allow you to do that?
 
A: I haven’t found a situation where that’s possible. Unidirectional.
 
Moy: also the result of my research. Where info is broadcast in the clear, the reason is so the hospital can get it easily. That’s how sensitive patient info goes.
 
Q: could you configure devices to transmit only data transmitted by design?  Could we bar something like battery drainage from triggering transmission of data beyond ways mfgr designed it to transmit?
 
Moy: security research w/individual devices typically done on explanted device, so drainage is not typically a concern. Performing vulnerability research is something that can prevent battery drainage/other vulnerability from exploitation in the future. 
 
C: but there was another claim that pinging a device a lot could drain a battery. [© Office as design engineers.]
 
Sellars: that’s an implant v. attached device issue.  Batteries for outside devices are replaceable. Ways in which getting info can be quite relevant to patient care. Turning to pacemakers, the research to date largely concerns passive interception.  There are devices called interrogators [yikes!] in hospital environments.
 
C: I’m not a medical device researcher, but I don’t feel like that answered my question.  Pacemakers have limited battery life, hard to replace: you circumvent a TPM and you are making your own interrogator much more frequently than contemplated by manufacturer—could drain battery in unexpected way. How would you address that concern?  [Um, not with ©?]
 
Sellars: hard to figure out what the concern is. Repeated/continuous interrogation can drain battery, but these sorts of experiments for better access are often done in collaboration w/a doctor: informed consent and the judgment of the doctor is part of our proposed language.
 
C: but one of the pitches was immediate access to the data? [depends on what it is you want to do!]
 
Sellars: that’s a distinction b/t types of projects.  People concerned about cardiac events/better data access would consult w/doctors.
West: you can’t build an interrogator by accident. 
 
C: You might know that, but a naïve person might not.
 
West: to create that device, they have to build it to drain the battery.
 
C: but the opposition’s concern is that some heart patient might not know about their home interrogator’s negative functions. That person might not realize that reading their data frequently could drain their battery in a dangerous way. We’re not the FDA here, obviously, but we’re trying to understand the parameters of the exemption.
 
West: it seems like informed consent would be important there.
 
C: who would be doing the informing?
 
West: the installer?
 
Sellars: note that there are no TPMs preventing this today, and it is not happening. Instead we see passive interception.  Siy said: the device is often accompanied w/monitor and base station. I’d find the concerns completely unfounded. They’re pretending like this activity isn’t happening yet and TPMs are the only barrier, but there are lots of unencrypted devices now.
 
Q: would it be appropriate to limit exemption to passive monitoring for implanted devices?
 
Siy: No. Oppositions suggest hypothetical drain in certain uses; drawing a bright line rule based upon what’s being transmitted rather than characteristics of battery seems a poor fit. Many of the problems we’re seeking to address come from insufficient information received through existing process dictated by manufacturer.
 
Q: is there are scenario where there is an implanted glucose monitor w/ a ten year battery life expected, but using your technique to gather additional data, it might only have an eight year battery life, requiring extra surgeries?  Could a patient decide the extra information is worth having that more regular surgery? Are there scenarios where the additional information would be a decision the patient would want to make for themselves?
 
West: absolutely conceivable. You could also come up with an auditing technique that would make the device last longer—that’s an equally probable alternative.  Or you could provide much better value.
 
Sellars: Personalizing and customizing care is in accordance w/national policy. Consider patient more as individual—better health outcomes.
 
Moy: Doctors and patients should be able to weigh concerns about device vulnerability in their decisions. They have a right to know, especially for implantation, and disclosure helps informed choice. Info about security research could affect cost/benefit analysis, says one opponent—but that’s precisely as it should be! One of the researchers in this area got into it precisely to engage in her own cost benefit analysis for her medical decision.
 
Other agencies like this: FDA is informed by security research. FDA’s additional security steps respond to important work of independent device researchers.
 
C: record suggested that a lot of devices don’t currently have TPMs, and FDA has stepped up its interest. Can you say how many devices currently have TPMs?
 
Sellars: pp. 6-8, citing vendors themselves. We often have to rely on vendors.  Some appendices disclose others.  FDA issued new guidance for devices in October strongly encouraging encryption.  When the FDA strongly encourages something, that’s de facto law. It’s not conjecture; the FDA now wants it as part of approval.
 
West: Medtronic’s pump is what I use; my next pump will have encryption and I will lose access to the data.
Siy: to the extent the Office is concerned w/overlapping jurisdiction, this research is already happening and TPMs are coming, altering the status quo. What’s changing is that the FDA’s exclusive jurisdiction is now suddenly being shared with the © Office and we just want to maintain the status quo research environment.
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DMCA hearings: remix

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
Stacy Cheney (NTIA)
 
Note that my recap does not reflect all Qs because I was participating.
 
Proposed Class 7: Audiovisual works – derivative uses –
noncommercial remix videos
This proposed class would allow circumvention of access
controls on lawfully made and acquired audiovisual works for the sole purpose
of extracting clips for inclusion in noncommercial videos that do not infringe
copyright. This exemption has been requested for audiovisual material made available
on DVDs protected by CSS, Blu-ray discs protected by AACS, and TPM-protected
online distribution services.
 
Proponents: Corynne McSherry, Electronic Frontier Foundation
 
(1)  
Urge you to look at record submitted by all
sides. You stressed in the NPR that you wanted a record.  Some of the evidence: we submitted many
examples of the kinds of videos this exemption would protect and why a court
would likely find them fair.  Opponents
offered very little on why our examples aren’t fair use, just blanket
statements not applied to our example. 
Record on harms and statutory factors: ample evidence that artists are
relying on Blu-Ray source. And the existing exemption is not controversial so
it’s just Blu-Ray.  Opponents conceded
Blu-Ray is for bonus features, exactly what vidders might want to comment
on.  Currently remix artists use the
existing exemption to defend themselves against improper takedown claims.
People who use Blu-Ray don’t have that protection, and they don’t know it until
they get a takedown, talk to a lawyer, and find out they can’t fight back.
C: did you provide specific examples of uses where the
content was only available on Blu-Ray.
A: we do—a whole collection of uses.
C: they may have used it, but setting aside quality, you
were talking about bonus features.
A: yes, in our Reply/Coppa’s statement.
W/o exemption 1201 is a trap for the unwary. Trying to do
the right thing and ensure creators get paid. Tripped up later by a confusing
message that you did the right thing but used the wrong source material.
What is not in the record: any evidence that proposed
expansion or current exemption cause harm to availability of copyrighted works.
They’ve suggested people won’t make works available on Blu-Ray but that’s
speculative. Blu-Ray may be emergent model, but so is streaming, and online
streaming services know the existing exemption hasn’t hurt their emerging
business model.
C: are you aware of situations where vidders have used HD
online content and has that been a workable option?
A: Turk will talk about that.
Opponents have suggested that allowing circumvention might
lead to piracy. If that were true we’d have evidence from DVDs and online
streaming/downloads. Your Office asked for that evidence and didn’t get it.
Pirates don’t want or need this exemption. Remix artists do.
Alternatives: record shows that the technologies opponents
might work won’t work. Inadequate for editing that artists need to engage in to
produce high quality work taken seriously by audiences they’re trying to reach.
C: artists—how do you define that?  The exemption doesn’t use the word
artists.  Is it mainly to allow artistic
production?
A: using it as a catchall for a broad array of communities.
Wouldn’t tie it to any particular community. 
Fanvidders, political remixers, professional video makers who are having
their work displayed in museum.  If we
tried to try it to an artistic endeavor that would be confusing because of the
different communities.
We’ll show you importance of high quality. Dispel a
different source of confusion: notion that fair use doesn’t entitle user to
particular tech.  Corley is inapposite—discussed
in our papers. Artists get the quality they need for transformative purpose.
Also a red herring—whether they need the best quality source speaks to the
question of adverse effect under the statute. 
If it is putting their work at legal risk that’s an adverse effect.
C: most supportive cases?
A: Bill Graham, Warren v. Spurlock, Swatch, Sony v. Bleem
(real images were necessary for accurate comparisons)—courts repeatedly take
into account what’s necessary for the purpose, and HQ is needed for the
transformative purpose.
 
Francesca Coppa, Muhlenberg College: Writing a book on
vidders, but to speak to question before—remixers think of selves as artists
and cultural critics, increasingly understood as broad art practice.  Already using Blu-Ray or other HD footage in
practice. Whether or not they use Blu-Ray depends on some things, including
technical or geographical (not everyone has broadband)—all across the country.
Blu-Ray is significant source for many people in different parts of country.
Using HD for two reasons: (1) they bought it and the idea that they can use one
kind of disc and not another is not intuitive; (2) you’re asking them to use
lower quality or spend more money for worse footage. HQ allows them to make the
transformations they want. They don’t want to play it back. Edit it, crop it,
color it, mask it, layer it. The more info in the original footage, the better
it stands up to processing and the more complex an idea you can
articulate.  Vidders date from 40 years ago,
always on the cutting edge of media b/c they care about the quality of image so
our image is watchable and not pixelated.
 
Q: distribution—can vary in types of quality.  Today, if you make something to be
distributed into lower output can you explain why it matters?
 
A: it isn’t. Even YT has a HD option. Many may be seen in
theater-style setting on projector. Hi-retina displays. Emerging practice of
remastering older vids in Blu-Ray to keep the artwork watchable and vibrant as
an artifact in the community. 
 
C: what’s the process of remastering?
 
A: Turk—but you match the clips and cuts, replicating their
process using better quality footage.  On
a shot by shot basis.
 
Artistic reasons for doing this: bring background to
foreground, as with M video or Captain America vids—a lot of people using those
deleted scenes to create critiques of the military industrial complex in
Captain America. If you want background to be forward, you can crop and still
have a watchable picture if you start w/BR. Deleted scenes often things that
editor didn’t think significant, and vidders are often about reprioritizing—having
an argument w/the director, what you thought was important isn’t!  Another case for Blu-Ray only content, John
Carpenter vid, wasn’t planning to use BR because he was trying to say something
about Jamie Lee Curtis over 30 years. Needed to use BR across b/c differences between
1977 and 200X would have been too jarring to the viewer. The last film was only
in BR.  Multiple visual sources, trace a
theme, make an argument, you need to match aspect ratio, color palette so that
the eye goes to the argument the editing is making so it’s not disrupted by
images that look widely disparate. It’s a way of talking visually.
 
Vids and other remixes have been featured in major
exhibitions at museums and art galleries. 
GIFs made with Blu-Ray; starting to see museum exhibitions too as
borderline b/t film and photography. 
Many times they’re projected on the walls.  It matters what they look like. Increasingly
appreciated as artform and grassroots form of film criticism.  Centerpiece for discursive arguments about
pop or high culture.  Michael Pidgett
called vidders grassroots cinephiles who spot something latent in an image and
feel the need to make it prominent and clear to others. HD/BR is important to
this and a natural extension of this.  We
naturally start with the most info dense images b/c we lose quality in
processing. They think they’re doing the right thing.
 
Tisha Turk, University of Minnesota Morris: I’m also here as
a vidder, an artist w/in the community. 
Emphasize that I’m not a film or TV pro. 
No Jim Morrissette. Know b/c I’ve been creating for 15 years. Two
points: (1) Quality matters to video remix. The distinction is between what I
need as consumer and creator. Consumer doesn’t always need highest quality for
its own sake—I might stream Netflix to watch on the couch. Remix video – I need
tools that work. The video is something I’m using and manipulating. Vid
transforms genre, narrative, meaning—and that requires transforming individual
clips. HQ allows me to do that without compromising the end effect.
 
Alternatives to circumvention don’t work. Multiple reasons.
Some are aesthetic. Visually acceptable results for Blu-Ray not shown by
opponents. Single frame of DVD video: 345,000 pixels. BR: over 2 million pixels—6
times as many. Screen cap can’t keep up.
 
Q: that’s true for material you grab online? If you
screencapture from Netflix.
 
A: yes, if it’s 1080p, that’s just the number of pixels that
it has. If you capture it, the software can’t deal w/ it all. Lots of things affect
this. It’s a lot to ask of software not designed to do this.  It’s designed to make videos where you show
your mouse moving.
 
C: Are you saying every vidder would necessarily need HD
quality?  There’s no vidders only showing
things to their friends? Existing exemption says you should need it.  Does every single vidder need access no
matter what their purpose is?
 
A: vidders have a wide range of needs and backgrounds and
access to stuff. My audience may not be the same. 
 
C: a beginner might not need to be circumventing Blu-Ray—she
might be able to use screen capture. There might be variation.
 
A: variations are possible, but the ceiling is getting
higher. What someone wants to do at 14, if they’re interested and keep doing
it, in 2 years, they might have very different aesthetic needs and sense of who
they’re communicating with. They might want to use more effects. They might
want to focus on a character who’s in the background.  There’s a range, but the high end of that
range is very high and getting higher as more people get used to high def.
 
Q: Vidder v. remixers. Vidder = subset? Perhaps maybe more
of a need to use HD, or remix at large?
 
A: remix at large. Vidders particularly b/c we are fans of
the things, our audiences tend to care very much about the source and know it
very well. If someone loves a show or a movie in HD and you’re asking them to
watch it with pixelization that would turn off our community.
 
Coppa: younger people are more footage-conscious because
they have processing power and have lived with shiny screens their whole lives.
Unbelievably good editing chops at 18—working in the industry at 22, came in
running in a way we’ve never seen before.
 
Turk: It’s not just aesthetic reasons that alternatives don’t
work. There are technical reasons. Video can look good to a casual viewer and
not be editable or exportable which is in some ways more frustrating.  I tried to submit a video and captured
footage wouldn’t work. The point of being remix artist is to edit, not just to
look at. Opponents are thinking about alternatives from POV of viewer and
consumer. You can see that in the record—they capture. Did you pull it into
premiere or final cut, did you apply effects to it? There’s no attempt to
transform. I have to assess alternatives from the perspective of a creator, not
just a viewer. May be watchable for pirates, but screencap is not good enough
to create.
 
Q: Alternative of HD downloads/streams.
 
Turk: People do use them and there are circumstances under
which that works. Potential problems or reasons to use BR instead. Some reasons
are geographical. Rural Minnesota w/intermittent broadband.  HD downloads are beyond my ability. Being
able to get Blu-Ray is useful. The other thing is that HD and BR are not
actually the same thing in the way they’re encoded. Different compression
algorithms.  BR comes on a disc and there’s
no need to download—BR holds a very large amount of data.  Download is encoded to produce a smaller
file. If you look at the relative size of 720p versus 1080HD download is not as
different as you’d expect given 2 ½ more pixels. The reason is that video is
encoded using any of a variety of codecs. There are three different codecs BR
supports.  Each has multiple options for
compression algorithms. What is the bitrate? 
Variable bitrate: if a scene doesn’t have a lot of motion, bitrate is
lower—allows better distribution of the data. 
Different algorithms serve different purposes. Some maximize sharp
detail—something animated needs that. Some maximize smooth motion. Some are
designed to produce small file size. You can’t have all of what you want. You
have to trade off. Sharp detail = less smooth motion. You make decisions about
what’s the most important. HD downloads are aggressively compressed—really big
file, but way smaller than what you get if you rip a BR.  BR is not as compressed. Watching, that makes
very little difference. But it can affect editing, when you need to do
something to that footage. Unpredictable results.  Compression affects the underlying data. There’s
a big range within lossy compression algorithms—you lose different things.
 
Q: what’s the scale of the compression? Raw to BR to HD
1080p.
 
Turk: I’d have to look it up.  Raw file is unmanageably enormous.  BR is compressed but not so much.  HD download v. BR would be big size
difference.
 
Q: talk about editing limitations.  What would those limitations be?
 
A: the one that comes to mind is cropping and resizing—you would
lose quality through HD.  Other kinds of
things that might be affected: slo-mo. 
Color possibly. Zooming, speed changes.
 
Coppa: After Effects: you can use internal cameras to move a
camera over a piece of footage—you need a lot of processing power. I’m not that
fancy.
 
Q: have you personally worked with HD downloads?
 
A: I haven’t had much time to vid. 
 
Coppa: vidders I interview for my book have done that. One
vidder melted her graphics card—renders can take 26 hours to render one clip.
 
Turk: Vudu HDX—I did a quick look. Direct quote: brings down
the average bitrate of 1080p from BR’s dizzying 35 mbps to more manageable 12
mpbs. Which is great for streaming but not editing.
 
C: why?
 
A: It’s less data.
 
Rebecca Tushnet, I’m a professor at Georgetown Law and I’m
here as a legal academic who’s studied these issues for twenty years and on
behalf of the Organization for Transformative Works.
 
Thank Office and NTIA for hard work on these issues.
 
(1)        Want to
emphasize the wide variety of fair uses involved here: political commentary
like that from the Native Americans and anti-abortion groups, historical
analysis in National History Day, film criticism from Tony Zhou, cultural and
political criticism through remix like soda_jerk and gianduakiss and many
others.
Show “Worthy” to 1:35. 
You’ll see here a bunch of techniques that can’t be done without HD
input. None of the text effects exist in the original.  Swapped out backgrounds using masks (e.g., at
1:15) and altered elements of a character’s face (also at the end which I
commend to you: that’s entirely added by the vidder).
(2)        Exemption is
a two step process.  First, we’ve
submitted evidence that a substantial number of remixes made using
circumvention are likely to be noninfringing. This satisfies the statutory
demand for showing we are “adversely affected … in [our] ability to make
noninfringing uses of that particular class of works.”  Second, the question is then how to word the
exemption for which we concededly qualify. 
Under our formulation, if it’s not fair use, it won’t be entitled to the
exemption, which more than satisfies the standard for “substantial likelihood”
of fair use.  You can even say in the
exemption that it’s more likely to be fair use if it’s a short clip—that’s the
standard already articulated by the law. 
A contrary formulation presupposes that some fair uses ought to be
excluded from an exemption, which is not what the statute says.  Other standards will inherently add
uncertainty over and above the irreducible flexibility of fair use.  [Encourage the Office to recognize that that
“limited beyond fair use” and “providing guidance” are not equivalent. Most of
the non-fair use-based limits the Office has imposed in the past have been
unclear rather than providing guidance, as the debates in earlier panels have
indicated.]
 
(3)        Opponents
didn’t offer evidence about the quality of Blu-Ray screen capture. Since
Blu-Ray is the only exemption they’re opposing, that absence speaks volumes.
Even screencapture applied to DVD produces bad results, and opponents haven’t
provided and can’t provide evidence that screencapture works even that well on
Blu-Ray given Blu-Ray’s higher quality and computer processing demands.  [Show Captain America 2 Blu-ray, captured
using SnagIt on a PC: I tried to upload it to YouTube but YouTube rejected
it—not on copyright grounds but on quality/size grounds] This is before any
editing, which would cause further degradation. 
She got lucky. Here’s what vidder Thuviaptharth said: “I spent an hour
with WM Capture and 45 minutes with Camtasia Studio, and I can’t get either of
them to record the Blu-Ray video.  They
record the audio, but I can’t get it to record Blu-Ray video at all.  The Start menu and the mouse pointer show up,
but the video is just black. I tried it with two different Blu-Rays with the
same result.” [Also a PC; Mac doesn’t currently support Blu-Ray] Given the
evidence we submitted of artists’ actual experience, opponents would need to
provide evidence that their purported alternatives would work for Blu-Ray, and
they have not done so.
 
(4)        The
exemption process looks at adverse effects in the real world. People are using
Blu-Ray to make their fair uses.  Absent
an exemption, they risk violating the DMCA regardless of the theoretical
alternatives.  By contrast, we can
currently counsel vidders and others who use downloads and DVDs that they can
counternotify when they believe they’re making fair uses, and that’s made a
real difference in willingness to do so. 
That’s a real lifting of the chilling effect.  Remixers are not lawyers and shouldn’t have
to be. 
 
Our testimony comes from women, each of whom have more than
a decade editing video, who’ve won awards and been featured in magazines and
museums and scholarly articles.  It’s
disconcerting to see men who admittedly don’t make or edit video discredit
their experiences.  The MPAA has access
to real film editors, and I respectfully suggest that there’s a reason that
none of them are here to confirm the opponents’ assertions about file quality
and editing.
 
A point on adverse effects: in previous panels we’ve heard
the opponents suggest that Mac owners should go out and find a completely
separate computer for screencap, and make sure it’s old.  Pink-collar workers and teenagers can’t do
that, and I note the Register previously held w/r/t the print disabled that
having to use multiple expensive devices is itself an adverse impact.
 
Q: Wouldn’t you have to buy a PC to use Blu-Ray anyway?
 
RT: I don’t know.
 
Turnbull: Could you connect a standalone BR player to Mac
for playback, potentially. You’d have to circumvent something to capture video
that was being played back. It shouldn’t play back.
 
Q: why?
 
Turnbull: AACS requirement. External drive is supposed to
authenticate itself. Output you could connect to PC—the output itself would
have protection.
 
Q: and screencap?
 
Turnbull: screencap operates on the decrypted video, so it
wouldn’t attack HDCP or AACS but could be imposed by Apple or Windows.
 
Turk: Size of uncompressed video: 10 bit BR is 667 gigabytes
per hour.  40 minutes on iTunes: about
1.75 gigs. So there’s a pretty significant size difference.
 
McSherry: sometimes your purpose is speed/commenting—HD
downloads might be sufficient.  But
sometimes your purpose is artistic for display in museum—then you need more.
 
Q: people may take the best quality they can w/out needing.
 
McSherry: they just guess wrong about their source.
Counterintuitive.
 
Coppa: “Worthy.” Body in the foreground is mismatched—how difficult
it is to integrate text.  Screencap looks
like you’re writing on a frame whereas editing so that text moves with the body
as if it’s on the body is incredibly difficult. 
If someone’s done their job right you 
might not see it at all b/c it looks like TV even though it was done by
a pink-collar worker.  One vid: the main
character hadn’t been in any of the scenes. The editor just put them in.  It’s hard to explain the hours and days of
work.
 
While people aren’t using BR all the time, younger people
use it b/c they think it’s the thing they have. 
And it’s used by people who think they have something to say.  They want to say this matters—if they think
their work is fair, they should be able to defend it. Maybe the 14 year old
doesn’t think her speech is important to fight a takedown, but I’m interested
in the person who is.
 
Opponents: Bruce Turnbull, AACS LA: There is a vigorous
community using existing tech and exemptions without exemption for BR. There are
sites on the internet that tell vidders how to use screencap. There are HD
quality videos we’ve talked about through HD content under existing and renewed
exemption.  There are flavors of HD
available online.  HDX is likely to be
the highest quality and the largest file. There are some complaints that it
took a long time to download which suggests it was big [667 gigs]?
 
Reply cited the use of HD downloads as a good thing [b/c more
timely than BR, though]. In terms of content only available on BR, there’s a de
minimis amount of that, and some of the online downloads contain bonus features
as well.
 
Our view that Corley is
good law and is the most directly relevant law. Covering the same law that we
are considering. Applying to the same kinds of tech. Applying to video, where
cited cases are about audio or posters. 
Is from the direct finding of the court on the First Amendment and fair
use; was one of the three reasons the court found for the Ps in that case.
 
Harm to market: Recent case in which the judge in SDNY found
irreparable harm to AACS from the distribution of tools used to circumvent
AACS. Our view that enabling of the further distribution would have similar
irreparable harm to AACS. DVD exemptions is commentary on differences b/t BR
and DVD b/c DVD hack ubiquitious.  [and
difference b/t BR and streaming/downloads?] We’ve been able to contain the
circumvention tools to some degree and the use of those tools would cause harm.
 
C: One claim is that complex editing goes better w/BR.
 
Turnbull: I’m not an editor. 
I take the point as made. People did make perfectly good remix videos
using alternative forms of video. 10 years ago, people would have said this was
quite compelling.  You can do it without
that. HD content, editing is possible.
 
We don’t maintain that screencap of BR is an alternative.
That probably doesn’t work. 
 
C: what about the aesthetic claims?
 
A: under our laws you don’t always get what you want.  Going back to Corley, the fact that a critic might have had a better piece of
criticism if he’d been able to take a camera into a theater doesn’t mean it’s
legal to go into the theater and use a camera.
 
C: claim is that the bar is getting higher in terms of
quality.
 
A: Yes and no. 
Companies very much hope everyone will rush out to new ultra HD BR
players. On the other hand, DVD is still the dominant optical medium.  Notwithstanding BR’s existence for 9
years.  Online video = people watching
all kinds of different resolutions.  When
I watch on big screens, it frequently down-rezzes to deal with bandwidth. It
isn’t just everyone watching HD all the time.
 
McSherry: On Corley:
it wasn’t a fair use case.  Actual fair
use cases go the other way.
 
Harm: what opponents cited was a brief court decision saying
there’s harm. What they haven’t submitted is any actual evidence. They suggest
there’s a distinction b/c with DVDs the circumvention tools were widely
available. Based on what we’re hearing from vidding and remix community, these
tools are widely available b/c people are using them—that’s in the record.
There’s no distinction to be made on that theory of harm.  Many opportunities for opponents to submit
some evidence of harm from previous exemptions; never been able to do that.
 
Your Q: Turnbull suggested 5 years ago people were happy
with tech, but of course standards evolve. 
Many of us aren’t thrilled we have to do this every 3 years but the one
benefit is opportunity to see if exemptions need to evolve to new tech and
practices.
 
RT: people don’t know about this proceeding! This is in the
record: we’re the only ones who present evidence about remixers’ actual
knowledge on the ground. Relevant both to alternatives and to alleged harm. May
be unfortunate, but you can’t affect the prevalence of BR circumvention no
matter what you do in this proceeding.
 
Q: Chilling effect on vidders: what is it?
 
RT: Inability to counternotify: recognized as a problem in
2009; now we have an exemption.
 
Coppa: DVD exemption has been hugely helpful in fighting
automated takedowns—allows us to say go ahead and counternotify.  I worry about people who don’t know about BR.
 
McSherry: people incurring legal risk w/ no idea. Not a
traditional chilling effect, but a harm: the sword of Damocles, and they have
no idea. That in and of itself, given that they’re otherwise making fair use, should
be taken seriously.
 
Q: does this encompass ultra HD BR?
 
McSherry: don’t know the difference. We’ve crafted it to
cover all BR.
 
Turnbull: we would object to including Ultra HD BR, which is
totally different and different tech based on existing AACS technology. No
evidence of harm.
 
Q: is it out yet?
 
A: No.  [ok.] When
this was raised in LA, their answer was we aren’t talking about that. I would
have hoped that would be the case here.
 
Q: if there’s nothing in the record on this format, will you
concede that’s not what you mean.
 
McSherry: there’s no record on what’s not yet available.
Forward thinking exemption: same problems will apply. There will not be a
distinction.
 
Coppa: we’re expecting change—people respond to better
technology. No sense there’s a trap.
 
RT: There is something in the record: they use it b/c they
bought it, they are not pirates, and they don’t know these distinctions—that relates
to any format that might be created in the future.
 
David Jonathan Taylor, DVDCAA: Videos: Matrix clip.  A different clip!  Demo of using that clip with Premiere.  And then comparison of original screencap
clip versus what we actually produced in Premiere w/effects.  Images that have been upgraded/processed
taken from screencap settings.
 
WMCapture—output as mp4 and we learned that Adobe Premier
doesn’t handle mp2.  The clip has crazy
aspect ratio and is weirdly squished.
 
C: did the aspect ratio on that change?
 
A: I kept the image size at 720×486, what we talked about
w/broadcasters. I couldn’t tell what image size they wanted, so I kept it at
720×486, and the aspect ratio should be 4:3. 
You can change the aspect ratios you want, so if you want 16:1 you can
choose it. [But apparently you didn’t?] 
I don’t know what the original aspect ratio was. It was predetermined by
WMCapture’s settings.  It will record it
for you optimized for iPad or iPhone. Not necessarily 4:3. 
 
Q: Turk talks about frame size and framerate?
 
A: I did change it from the original. Not sure what original
size was. Did change it to 23.97 fps.
 
Then Premiere demo: importing it into Premiere.  Now it’s on the timeline. They wanted us to
zoom and crossfade.  We did zoom and
crossfade.
 
Exhibit 33: Side by side comparison of what was produced
w/Premiere.  Rendered.  A couple of zooms and crossfades of a few
frames each.
 
Q: could you add a character into an existing frame?
 
A: we used screencap as source, and then you can use their
preferred software in Premiere to do the same things they said they wanted to
do.
 
C: Could you import a different film and add an image to
this film using screencap and Adobe?
 
A: we created it from screencap software. You could add as
much as Adobe Premiere can handle. [They showed a Matrix image in which Trinity was cut out of the scene, which I can’t
help but find symbolic of this whole process.] Ex. 34: Powerpoint called Family
Guy.  Still images that are typical of
the results. If you process it you can improve the quality of the image. That’s
the point in all of this. Any image you have can be edited and processed to
improve its quality.
 
C: what did you do?
 
A: upscaled from 720×46 to 720×540.  Video editor algorithm NNEDI3: it takes the
interlaced frame made of two fields and drops the second field and reproduces
the first to get you a better image when it’s deinterlaced.  You can see clearer details, pixelization
disappeared. Strikingly clear.
 
Q: how long does it take to upscale a 1-minute clip?
 
A: 20-30 minutes.
 
J. Matthew Williams, Entertainment Software Association,
Motion Picture Association of America, Recording Industry Association of
America (Joint Creators and Copyright Owners)
 
A lot to cover: As w/ebook issues, my clients not opposing
renewal of existing exemption for remix videos. Opposed to expansions proposed,
including uses beyond short portions, coverage of primarily noncommercial,
coverage of uses other than criticism and comment, including Blu Rays, and
coverage of all AV works instead of just motion pictures. Many of these limits
are critical to ensure that the uses at issue are very likely to be
noninfringing. We aren’t saying that using a portion of a motion picture is
never a fair use, and we didn’t take the position that remix is generally
infringing. We take the work vidders do seriously, and I’m not here to
criticize it as an artform. That doesn’t mean every remix is a fair use, and we
do have to discuss that fact in this proceeding. Despite my readily apparent
gender limitations [J] I will try to discuss the factors. Some are just
for entertainment value, and that needs to be licensed, which is an option.
[For vidders? Not at all!] Online video best practices acknowledge that these
types of uses can be infringing—use shouldn’t be so extensive or pervasive that
it ceases to function as critique and satisfies taste for the thing or kind of
thing.
 
Q: In the record?
 
A: that’s an exhibit to the proponents’ comments.  [We don’t remember that offhand, but we don’t
deny its existence and we think they’re pretty cool.] Discussed at
documentarians’ hearing. Where a use is a pretext to exploit the popularity or
appeal of the work employed or amount is excessive, fair use shouldn’t apply.
My clients rely on fair use, even in entertainment, but pure entertainment isn’t
at the heart of fair use so we want existing exemptions.
 
Q: do you have opinion about the SPN clip we saw?
 
A: I think I’d need to know more about the series.  I did see what was added and subtracted which
seemed significant, but I don’t know which way I’d go.
 
Proponents say we aren’t qualified to evaluate
transformativeness. I’m not qualified to talk about quantitative value, but
lawyers and judges have to be qualified to apply the fair use factors
objectively otherwise no one other than a defendant could opine on fairness.
 
Q: have you opined on their examples?
 
A: we did not try to provide an opinion on every example,
and we aren’t claiming there aren’t a significant number of fair uses; my
statements today are more about preserving the limitations that are in place,
and not everything out there is noninfringing and caution is called for. We only
pointed to a couple of videos, and they gave more information about the meaning
of the videos; I still have questions about them but they did explain
them.  I don’t think the only person who
can have the answer is a defendant. [Really not what we’re saying.] What
audience takes away is relevant. [Yes!] And it’s not only the intended
audience. [No!] It has to be a reasonable observer.  Targeted community is relevant, but can’t be
the only question.  Salinger v. Colting: defendant wrote an unauthorized sequel to Catcher in the Rye and there was an
expert witness. Second Circuit affirmed Dct.
 
Williams: need good definition of what this covers. Some of
what we’ve heard was helpful. Would take more drafting, but sounds like remixes
and mashups that are either parodies or satires. Traditional core political
statements.  Art display
presentations.  [these are the kinds of
additions that don’t provide guidance; they take guidance away.]
 
Q: Are you objecting to noncommercial, current description?
 
A: we want that to stay, but we want more than a reference
to noncommercial—starts to swallow up other things not intended to be swallowed
up.
 
Q: what are some examples of things that weren’t intended
under this exemption?

A: currently, K-12 are not covered by educational exemption but there’s an
argument for noncommercial video covering them.
 
Q: proponents have used National History Day—should that be
excluded.
 
A: I don’t recall that. Is that students creating vids?
 
C: Could be remix video illustrating historical events from
films.
 
A: I’m hesitant to speak to that. I’d respond in a letter.
 
Q: are you aware of instances where the prior exemption was
abused?
 
A: I have seen on various blogs mention of the lack of
clarity and maybe the noncommercial exemption covers K-12 but not claiming
abuse. Ability to collect evidence of abuse is really not possible and unfair
to put that burden on us.  [You study
sources of piracy all the time.] We are honestly concerned about threat of
harm.
 
Q: are you seeing an uptick in infringement?
 
A: there are lots of marketplace factors at issue.  I haven’t heard any study of the exemptions
increasing infringement.
 
C: Underlying concern—forget about overlap with other
exemptions. What’s too broad?
 
A: we think it’s important to cover conduct vetted during
the process.  Trying to identify three
types of conduct arguably noninfringing a large portion of the time. [fair use
= noninfringing all the time] Just
saying noncommercial videos is potentially very expansive. [what bads does it
cover?] Not all noncommercial uses are fair uses [which is why we say fair use
in our proposal] we want the definitions as clear as possible for each
exemption so things that aren’t intended to be swept up will be kept outside.
 
Footnote 7 of opening petition: Screencrave.com—10 best YT
trailer remixes ever.  Some are old. Some
of them seemed pretty clear but others were questionable fair use. #10 is a
video asking the question “what if in Ferris Bueller’s Day Off he were sick the
whole time?” It’s funny.  I don’t see the
real criticism or commentary there. Another if Home Alone was really a horror
film. It’s entertaining but borderline.  The
genius is it doesn’t change the genre but cranks it up to 11. You didn’t go for
plot but for things exploding and this trailer shows it—the movie we wish was
made. Sounds like most entertaining portions. Depends on how you perceive it.
 
Q: and you want us to look at the HP Lexicon case?
 
A: yeah, that’s more extensive copying, but those cases
support caution.
 
Small sliver of stuff only available on BR. Only 2
examples.  As in 2012, Register decided
it was insignificant.
 
Q: do you object to clarifying streaming v. download?
 
A: that’s a bit of a wrinkle. Current exemption –
distributed. You could read that narrowly, but I think in the Recommendation
the looser language implies streaming video was supposed to be covered. We wouldn’t
oppose clarification but are hesitant on short portions, if you haven’t paid
for access to a full copy, you shouldn’t be able to walk away from your
streaming subscription with a bunch of full copies of works.
 
No streaming providers here: note that MPAA member studios
are partners/investors in streaming services and they want cautious
approaches.  I regret there’s no business
executive witness, but we did produce them in LA, including Chief Tech Officer
of Disney.
 
Q: exemptions for screencap?
 
A: we need it for a few situations especially political
remixers and given the uncertainty we need it.
 
Q: and motion pictures?
 
A: we’re cool with that as long as it includes TV.
 
Q: primarily language. 
We did try to clarify that paying for production can be considered
noncommercial.
 
A: we’re totally happy with putting that in the guidance.
 
RT, what I didn’t get to say: [on transformativeness: we don’t
think it’s the creator’s own view; have the interpretations of flourishing
existing community; Mr. Williams has given an excellent explanation for why you
shouldn’t put other limits on the exemption, precisely so courts can apply these
factors. Our limit is perfect; his limits don’t work and take away guideposts. 
Bleistein’s antidiscrimination principle: don’t judge what you don’t
understand. A judge would hear this evidence.]

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DMCA hearings: remix

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
Stacy Cheney (NTIA)
 
Note that my recap does not reflect all Qs because I was participating.
 
Proposed Class 7: Audiovisual works – derivative uses – noncommercial remix videos
This proposed class would allow circumvention of access controls on lawfully made and acquired audiovisual works for the sole purpose of extracting clips for inclusion in noncommercial videos that do not infringe copyright. This exemption has been requested for audiovisual material made available on DVDs protected by CSS, Blu-ray discs protected by AACS, and TPM-protected online distribution services.
 
Proponents: Corynne McSherry, Electronic Frontier Foundation
 
(1)   Urge you to look at record submitted by all sides. You stressed in the NPR that you wanted a record.  Some of the evidence: we submitted many examples of the kinds of videos this exemption would protect and why a court would likely find them fair.  Opponents offered very little on why our examples aren’t fair use, just blanket statements not applied to our example.  Record on harms and statutory factors: ample evidence that artists are relying on Blu-Ray source. And the existing exemption is not controversial so it’s just Blu-Ray.  Opponents conceded Blu-Ray is for bonus features, exactly what vidders might want to comment on.  Currently remix artists use the existing exemption to defend themselves against improper takedown claims. People who use Blu-Ray don’t have that protection, and they don’t know it until they get a takedown, talk to a lawyer, and find out they can’t fight back.
C: did you provide specific examples of uses where the content was only available on Blu-Ray.
A: we do—a whole collection of uses.
C: they may have used it, but setting aside quality, you were talking about bonus features.
A: yes, in our Reply/Coppa’s statement.
W/o exemption 1201 is a trap for the unwary. Trying to do the right thing and ensure creators get paid. Tripped up later by a confusing message that you did the right thing but used the wrong source material.
What is not in the record: any evidence that proposed expansion or current exemption cause harm to availability of copyrighted works. They’ve suggested people won’t make works available on Blu-Ray but that’s speculative. Blu-Ray may be emergent model, but so is streaming, and online streaming services know the existing exemption hasn’t hurt their emerging business model.
C: are you aware of situations where vidders have used HD online content and has that been a workable option?
A: Turk will talk about that.
Opponents have suggested that allowing circumvention might lead to piracy. If that were true we’d have evidence from DVDs and online streaming/downloads. Your Office asked for that evidence and didn’t get it. Pirates don’t want or need this exemption. Remix artists do.
Alternatives: record shows that the technologies opponents might work won’t work. Inadequate for editing that artists need to engage in to produce high quality work taken seriously by audiences they’re trying to reach.
C: artists—how do you define that?  The exemption doesn’t use the word artists.  Is it mainly to allow artistic production?
A: using it as a catchall for a broad array of communities. Wouldn’t tie it to any particular community.  Fanvidders, political remixers, professional video makers who are having their work displayed in museum.  If we tried to try it to an artistic endeavor that would be confusing because of the different communities.
We’ll show you importance of high quality. Dispel a different source of confusion: notion that fair use doesn’t entitle user to particular tech.  Corley is inapposite—discussed in our papers. Artists get the quality they need for transformative purpose. Also a red herring—whether they need the best quality source speaks to the question of adverse effect under the statute.  If it is putting their work at legal risk that’s an adverse effect.
C: most supportive cases?
A: Bill Graham, Warren v. Spurlock, Swatch, Sony v. Bleem (real images were necessary for accurate comparisons)—courts repeatedly take into account what’s necessary for the purpose, and HQ is needed for the transformative purpose.
 
Francesca Coppa, Muhlenberg College: Writing a book on vidders, but to speak to question before—remixers think of selves as artists and cultural critics, increasingly understood as broad art practice.  Already using Blu-Ray or other HD footage in practice. Whether or not they use Blu-Ray depends on some things, including technical or geographical (not everyone has broadband)—all across the country. Blu-Ray is significant source for many people in different parts of country. Using HD for two reasons: (1) they bought it and the idea that they can use one kind of disc and not another is not intuitive; (2) you’re asking them to use lower quality or spend more money for worse footage. HQ allows them to make the transformations they want. They don’t want to play it back. Edit it, crop it, color it, mask it, layer it. The more info in the original footage, the better it stands up to processing and the more complex an idea you can articulate.  Vidders date from 40 years ago, always on the cutting edge of media b/c they care about the quality of image so our image is watchable and not pixelated.
 
Q: distribution—can vary in types of quality.  Today, if you make something to be distributed into lower output can you explain why it matters?
 
A: it isn’t. Even YT has a HD option. Many may be seen in theater-style setting on projector. Hi-retina displays. Emerging practice of remastering older vids in Blu-Ray to keep the artwork watchable and vibrant as an artifact in the community. 
 
C: what’s the process of remastering?
 
A: Turk—but you match the clips and cuts, replicating their process using better quality footage.  On a shot by shot basis.
 
Artistic reasons for doing this: bring background to foreground, as with M video or Captain America vids—a lot of people using those deleted scenes to create critiques of the military industrial complex in Captain America. If you want background to be forward, you can crop and still have a watchable picture if you start w/BR. Deleted scenes often things that editor didn’t think significant, and vidders are often about reprioritizing—having an argument w/the director, what you thought was important isn’t!  Another case for Blu-Ray only content, John Carpenter vid, wasn’t planning to use BR because he was trying to say something about Jamie Lee Curtis over 30 years. Needed to use BR across b/c differences between 1977 and 200X would have been too jarring to the viewer. The last film was only in BR.  Multiple visual sources, trace a theme, make an argument, you need to match aspect ratio, color palette so that the eye goes to the argument the editing is making so it’s not disrupted by images that look widely disparate. It’s a way of talking visually.
 
Vids and other remixes have been featured in major exhibitions at museums and art galleries.  GIFs made with Blu-Ray; starting to see museum exhibitions too as borderline b/t film and photography.  Many times they’re projected on the walls.  It matters what they look like. Increasingly appreciated as artform and grassroots form of film criticism.  Centerpiece for discursive arguments about pop or high culture.  Michael Pidgett called vidders grassroots cinephiles who spot something latent in an image and feel the need to make it prominent and clear to others. HD/BR is important to this and a natural extension of this.  We naturally start with the most info dense images b/c we lose quality in processing. They think they’re doing the right thing.
 
Tisha Turk, University of Minnesota Morris: I’m also here as a vidder, an artist w/in the community.  Emphasize that I’m not a film or TV pro.  No Jim Morrissette. Know b/c I’ve been creating for 15 years. Two points: (1) Quality matters to video remix. The distinction is between what I need as consumer and creator. Consumer doesn’t always need highest quality for its own sake—I might stream Netflix to watch on the couch. Remix video – I need tools that work. The video is something I’m using and manipulating. Vid transforms genre, narrative, meaning—and that requires transforming individual clips. HQ allows me to do that without compromising the end effect.
 
Alternatives to circumvention don’t work. Multiple reasons. Some are aesthetic. Visually acceptable results for Blu-Ray not shown by opponents. Single frame of DVD video: 345,000 pixels. BR: over 2 million pixels—6 times as many. Screen cap can’t keep up.
 
Q: that’s true for material you grab online? If you screencapture from Netflix.
 
A: yes, if it’s 1080p, that’s just the number of pixels that it has. If you capture it, the software can’t deal w/ it all. Lots of things affect this. It’s a lot to ask of software not designed to do this.  It’s designed to make videos where you show your mouse moving.
 
C: Are you saying every vidder would necessarily need HD quality?  There’s no vidders only showing things to their friends? Existing exemption says you should need it.  Does every single vidder need access no matter what their purpose is?
 
A: vidders have a wide range of needs and backgrounds and access to stuff. My audience may not be the same. 
 
C: a beginner might not need to be circumventing Blu-Ray—she might be able to use screen capture. There might be variation.
 
A: variations are possible, but the ceiling is getting higher. What someone wants to do at 14, if they’re interested and keep doing it, in 2 years, they might have very different aesthetic needs and sense of who they’re communicating with. They might want to use more effects. They might want to focus on a character who’s in the background.  There’s a range, but the high end of that range is very high and getting higher as more people get used to high def.
 
Q: Vidder v. remixers. Vidder = subset? Perhaps maybe more of a need to use HD, or remix at large?
 
A: remix at large. Vidders particularly b/c we are fans of the things, our audiences tend to care very much about the source and know it very well. If someone loves a show or a movie in HD and you’re asking them to watch it with pixelization that would turn off our community.
 
Coppa: younger people are more footage-conscious because they have processing power and have lived with shiny screens their whole lives. Unbelievably good editing chops at 18—working in the industry at 22, came in running in a way we’ve never seen before.
 
Turk: It’s not just aesthetic reasons that alternatives don’t work. There are technical reasons. Video can look good to a casual viewer and not be editable or exportable which is in some ways more frustrating.  I tried to submit a video and captured footage wouldn’t work. The point of being remix artist is to edit, not just to look at. Opponents are thinking about alternatives from POV of viewer and consumer. You can see that in the record—they capture. Did you pull it into premiere or final cut, did you apply effects to it? There’s no attempt to transform. I have to assess alternatives from the perspective of a creator, not just a viewer. May be watchable for pirates, but screencap is not good enough to create.
 
Q: Alternative of HD downloads/streams.
 
Turk: People do use them and there are circumstances under which that works. Potential problems or reasons to use BR instead. Some reasons are geographical. Rural Minnesota w/intermittent broadband.  HD downloads are beyond my ability. Being able to get Blu-Ray is useful. The other thing is that HD and BR are not actually the same thing in the way they’re encoded. Different compression algorithms.  BR comes on a disc and there’s no need to download—BR holds a very large amount of data.  Download is encoded to produce a smaller file. If you look at the relative size of 720p versus 1080HD download is not as different as you’d expect given 2 ½ more pixels. The reason is that video is encoded using any of a variety of codecs. There are three different codecs BR supports.  Each has multiple options for compression algorithms. What is the bitrate?  Variable bitrate: if a scene doesn’t have a lot of motion, bitrate is lower—allows better distribution of the data.  Different algorithms serve different purposes. Some maximize sharp detail—something animated needs that. Some maximize smooth motion. Some are designed to produce small file size. You can’t have all of what you want. You have to trade off. Sharp detail = less smooth motion. You make decisions about what’s the most important. HD downloads are aggressively compressed—really big file, but way smaller than what you get if you rip a BR.  BR is not as compressed. Watching, that makes very little difference. But it can affect editing, when you need to do something to that footage. Unpredictable results.  Compression affects the underlying data. There’s a big range within lossy compression algorithms—you lose different things.
 
Q: what’s the scale of the compression? Raw to BR to HD 1080p.
 
Turk: I’d have to look it up.  Raw file is unmanageably enormous.  BR is compressed but not so much.  HD download v. BR would be big size difference.
 
Q: talk about editing limitations.  What would those limitations be?
 
A: the one that comes to mind is cropping and resizing—you would lose quality through HD.  Other kinds of things that might be affected: slo-mo.  Color possibly. Zooming, speed changes.
 
Coppa: After Effects: you can use internal cameras to move a camera over a piece of footage—you need a lot of processing power. I’m not that fancy.
 
Q: have you personally worked with HD downloads?
 
A: I haven’t had much time to vid. 
 
Coppa: vidders I interview for my book have done that. One vidder melted her graphics card—renders can take 26 hours to render one clip.
 
Turk: Vudu HDX—I did a quick look. Direct quote: brings down the average bitrate of 1080p from BR’s dizzying 35 mbps to more manageable 12 mpbs. Which is great for streaming but not editing.
 
C: why?
 
A: It’s less data.
 
Rebecca Tushnet, I’m a professor at Georgetown Law and I’m here as a legal academic who’s studied these issues for twenty years and on behalf of the Organization for Transformative Works.
 
Thank Office and NTIA for hard work on these issues.
 
(1)        Want to emphasize the wide variety of fair uses involved here: political commentary like that from the Native Americans and anti-abortion groups, historical analysis in National History Day, film criticism from Tony Zhou, cultural and political criticism through remix like soda_jerk and gianduakiss and many others.
Show “Worthy” to 1:35.  You’ll see here a bunch of techniques that can’t be done without HD input. None of the text effects exist in the original.  Swapped out backgrounds using masks (e.g., at 1:15) and altered elements of a character’s face (also at the end which I commend to you: that’s entirely added by the vidder).
(2)        Exemption is a two step process.  First, we’ve submitted evidence that a substantial number of remixes made using circumvention are likely to be noninfringing. This satisfies the statutory demand for showing we are “adversely affected … in [our] ability to make noninfringing uses of that particular class of works.”  Second, the question is then how to word the exemption for which we concededly qualify.  Under our formulation, if it’s not fair use, it won’t be entitled to the exemption, which more than satisfies the standard for “substantial likelihood” of fair use.  You can even say in the exemption that it’s more likely to be fair use if it’s a short clip—that’s the standard already articulated by the law.  A contrary formulation presupposes that some fair uses ought to be excluded from an exemption, which is not what the statute says.  Other standards will inherently add uncertainty over and above the irreducible flexibility of fair use.  [Encourage the Office to recognize that that “limited beyond fair use” and “providing guidance” are not equivalent. Most of the non-fair use-based limits the Office has imposed in the past have been unclear rather than providing guidance, as the debates in earlier panels have indicated.]
 
(3)        Opponents didn’t offer evidence about the quality of Blu-Ray screen capture. Since Blu-Ray is the only exemption they’re opposing, that absence speaks volumes. Even screencapture applied to DVD produces bad results, and opponents haven’t provided and can’t provide evidence that screencapture works even that well on Blu-Ray given Blu-Ray’s higher quality and computer processing demands.  [Show Captain America 2 Blu-ray, captured using SnagIt on a PC: I tried to upload it to YouTube but YouTube rejected it—not on copyright grounds but on quality/size grounds] This is before any editing, which would cause further degradation.  She got lucky. Here’s what vidder Thuviaptharth said: “I spent an hour with WM Capture and 45 minutes with Camtasia Studio, and I can’t get either of them to record the Blu-Ray video.  They record the audio, but I can’t get it to record Blu-Ray video at all.  The Start menu and the mouse pointer show up, but the video is just black. I tried it with two different Blu-Rays with the same result.” [Also a PC; Mac doesn’t currently support Blu-Ray] Given the evidence we submitted of artists’ actual experience, opponents would need to provide evidence that their purported alternatives would work for Blu-Ray, and they have not done so.
 
(4)        The exemption process looks at adverse effects in the real world. People are using Blu-Ray to make their fair uses.  Absent an exemption, they risk violating the DMCA regardless of the theoretical alternatives.  By contrast, we can currently counsel vidders and others who use downloads and DVDs that they can counternotify when they believe they’re making fair uses, and that’s made a real difference in willingness to do so.  That’s a real lifting of the chilling effect.  Remixers are not lawyers and shouldn’t have to be. 
 
Our testimony comes from women, each of whom have more than a decade editing video, who’ve won awards and been featured in magazines and museums and scholarly articles.  It’s disconcerting to see men who admittedly don’t make or edit video discredit their experiences.  The MPAA has access to real film editors, and I respectfully suggest that there’s a reason that none of them are here to confirm the opponents’ assertions about file quality and editing.
 
A point on adverse effects: in previous panels we’ve heard the opponents suggest that Mac owners should go out and find a completely separate computer for screencap, and make sure it’s old.  Pink-collar workers and teenagers can’t do that, and I note the Register previously held w/r/t the print disabled that having to use multiple expensive devices is itself an adverse impact.
 
Q: Wouldn’t you have to buy a PC to use Blu-Ray anyway?
 
RT: I don’t know.
 
Turnbull: Could you connect a standalone BR player to Mac for playback, potentially. You’d have to circumvent something to capture video that was being played back. It shouldn’t play back.
 
Q: why?
 
Turnbull: AACS requirement. External drive is supposed to authenticate itself. Output you could connect to PC—the output itself would have protection.
 
Q: and screencap?
 
Turnbull: screencap operates on the decrypted video, so it wouldn’t attack HDCP or AACS but could be imposed by Apple or Windows.
 
Turk: Size of uncompressed video: 10 bit BR is 667 gigabytes per hour.  40 minutes on iTunes: about 1.75 gigs. So there’s a pretty significant size difference.
 
McSherry: sometimes your purpose is speed/commenting—HD downloads might be sufficient.  But sometimes your purpose is artistic for display in museum—then you need more.
 
Q: people may take the best quality they can w/out needing.
 
McSherry: they just guess wrong about their source. Counterintuitive.
 
Coppa: “Worthy.” Body in the foreground is mismatched—how difficult it is to integrate text.  Screencap looks like you’re writing on a frame whereas editing so that text moves with the body as if it’s on the body is incredibly difficult.  If someone’s done their job right you  might not see it at all b/c it looks like TV even though it was done by a pink-collar worker.  One vid: the main character hadn’t been in any of the scenes. The editor just put them in.  It’s hard to explain the hours and days of work.
 
While people aren’t using BR all the time, younger people use it b/c they think it’s the thing they have.  And it’s used by people who think they have something to say.  They want to say this matters—if they think their work is fair, they should be able to defend it. Maybe the 14 year old doesn’t think her speech is important to fight a takedown, but I’m interested in the person who is.
 
Opponents: Bruce Turnbull, AACS LA: There is a vigorous community using existing tech and exemptions without exemption for BR. There are sites on the internet that tell vidders how to use screencap. There are HD quality videos we’ve talked about through HD content under existing and renewed exemption.  There are flavors of HD available online.  HDX is likely to be the highest quality and the largest file. There are some complaints that it took a long time to download which suggests it was big [667 gigs]?
 
Reply cited the use of HD downloads as a good thing [b/c more timely than BR, though]. In terms of content only available on BR, there’s a de minimis amount of that, and some of the online downloads contain bonus features as well.
 
Our view that Corley is good law and is the most directly relevant law. Covering the same law that we are considering. Applying to the same kinds of tech. Applying to video, where cited cases are about audio or posters.  Is from the direct finding of the court on the First Amendment and fair use; was one of the three reasons the court found for the Ps in that case.
 
Harm to market: Recent case in which the judge in SDNY found irreparable harm to AACS from the distribution of tools used to circumvent AACS. Our view that enabling of the further distribution would have similar irreparable harm to AACS. DVD exemptions is commentary on differences b/t BR and DVD b/c DVD hack ubiquitious.  [and difference b/t BR and streaming/downloads?] We’ve been able to contain the circumvention tools to some degree and the use of those tools would cause harm.
 
C: One claim is that complex editing goes better w/BR.
 
Turnbull: I’m not an editor.  I take the point as made. People did make perfectly good remix videos using alternative forms of video. 10 years ago, people would have said this was quite compelling.  You can do it without that. HD content, editing is possible.
 
We don’t maintain that screencap of BR is an alternative. That probably doesn’t work. 
 
C: what about the aesthetic claims?
 
A: under our laws you don’t always get what you want.  Going back to Corley, the fact that a critic might have had a better piece of criticism if he’d been able to take a camera into a theater doesn’t mean it’s legal to go into the theater and use a camera.
 
C: claim is that the bar is getting higher in terms of quality.
 
A: Yes and no.  Companies very much hope everyone will rush out to new ultra HD BR players. On the other hand, DVD is still the dominant optical medium.  Notwithstanding BR’s existence for 9 years.  Online video = people watching all kinds of different resolutions.  When I watch on big screens, it frequently down-rezzes to deal with bandwidth. It isn’t just everyone watching HD all the time.
 
McSherry: On Corley: it wasn’t a fair use case.  Actual fair use cases go the other way.
 
Harm: what opponents cited was a brief court decision saying there’s harm. What they haven’t submitted is any actual evidence. They suggest there’s a distinction b/c with DVDs the circumvention tools were widely available. Based on what we’re hearing from vidding and remix community, these tools are widely available b/c people are using them—that’s in the record. There’s no distinction to be made on that theory of harm.  Many opportunities for opponents to submit some evidence of harm from previous exemptions; never been able to do that.
 
Your Q: Turnbull suggested 5 years ago people were happy with tech, but of course standards evolve.  Many of us aren’t thrilled we have to do this every 3 years but the one benefit is opportunity to see if exemptions need to evolve to new tech and practices.
 
RT: people don’t know about this proceeding! This is in the record: we’re the only ones who present evidence about remixers’ actual knowledge on the ground. Relevant both to alternatives and to alleged harm. May be unfortunate, but you can’t affect the prevalence of BR circumvention no matter what you do in this proceeding.
 
Q: Chilling effect on vidders: what is it?
 
RT: Inability to counternotify: recognized as a problem in 2009; now we have an exemption.
 
Coppa: DVD exemption has been hugely helpful in fighting automated takedowns—allows us to say go ahead and counternotify.  I worry about people who don’t know about BR.
 
McSherry: people incurring legal risk w/ no idea. Not a traditional chilling effect, but a harm: the sword of Damocles, and they have no idea. That in and of itself, given that they’re otherwise making fair use, should be taken seriously.
 
Q: does this encompass ultra HD BR?
 
McSherry: don’t know the difference. We’ve crafted it to cover all BR.
 
Turnbull: we would object to including Ultra HD BR, which is totally different and different tech based on existing AACS technology. No evidence of harm.
 
Q: is it out yet?
 
A: No.  [ok.] When this was raised in LA, their answer was we aren’t talking about that. I would have hoped that would be the case here.
 
Q: if there’s nothing in the record on this format, will you concede that’s not what you mean.
 
McSherry: there’s no record on what’s not yet available. Forward thinking exemption: same problems will apply. There will not be a distinction.
 
Coppa: we’re expecting change—people respond to better technology. No sense there’s a trap.
 
RT: There is something in the record: they use it b/c they bought it, they are not pirates, and they don’t know these distinctions—that relates to any format that might be created in the future.
 
David Jonathan Taylor, DVDCAA: Videos: Matrix clip.  A different clip!  Demo of using that clip with Premiere.  And then comparison of original screencap clip versus what we actually produced in Premiere w/effects.  Images that have been upgraded/processed taken from screencap settings.
 
WMCapture—output as mp4 and we learned that Adobe Premier doesn’t handle mp2.  The clip has crazy aspect ratio and is weirdly squished.
 
C: did the aspect ratio on that change?
 
A: I kept the image size at 720×486, what we talked about w/broadcasters. I couldn’t tell what image size they wanted, so I kept it at 720×486, and the aspect ratio should be 4:3.  You can change the aspect ratios you want, so if you want 16:1 you can choose it. [But apparently you didn’t?]  I don’t know what the original aspect ratio was. It was predetermined by WMCapture’s settings.  It will record it for you optimized for iPad or iPhone. Not necessarily 4:3. 
 
Q: Turk talks about frame size and framerate?
 
A: I did change it from the original. Not sure what original size was. Did change it to 23.97 fps.
 
Then Premiere demo: importing it into Premiere.  Now it’s on the timeline. They wanted us to zoom and crossfade.  We did zoom and crossfade.
 
Exhibit 33: Side by side comparison of what was produced w/Premiere.  Rendered.  A couple of zooms and crossfades of a few frames each.
 
Q: could you add a character into an existing frame?
 
A: we used screencap as source, and then you can use their preferred software in Premiere to do the same things they said they wanted to do.
 
C: Could you import a different film and add an image to this film using screencap and Adobe?
 
A: we created it from screencap software. You could add as much as Adobe Premiere can handle. [They showed a Matrix image in which Trinity was cut out of the scene, which I can’t help but find symbolic of this whole process.] Ex. 34: Powerpoint called Family Guy.  Still images that are typical of the results. If you process it you can improve the quality of the image. That’s the point in all of this. Any image you have can be edited and processed to improve its quality.
 
C: what did you do?
 
A: upscaled from 720×46 to 720×540.  Video editor algorithm NNEDI3: it takes the interlaced frame made of two fields and drops the second field and reproduces the first to get you a better image when it’s deinterlaced.  You can see clearer details, pixelization disappeared. Strikingly clear.
 
Q: how long does it take to upscale a 1-minute clip?
 
A: 20-30 minutes.
 
J. Matthew Williams, Entertainment Software Association, Motion Picture Association of America, Recording Industry Association of America (Joint Creators and Copyright Owners)
 
A lot to cover: As w/ebook issues, my clients not opposing renewal of existing exemption for remix videos. Opposed to expansions proposed, including uses beyond short portions, coverage of primarily noncommercial, coverage of uses other than criticism and comment, including Blu Rays, and coverage of all AV works instead of just motion pictures. Many of these limits are critical to ensure that the uses at issue are very likely to be noninfringing. We aren’t saying that using a portion of a motion picture is never a fair use, and we didn’t take the position that remix is generally infringing. We take the work vidders do seriously, and I’m not here to criticize it as an artform. That doesn’t mean every remix is a fair use, and we do have to discuss that fact in this proceeding. Despite my readily apparent gender limitations [J] I will try to discuss the factors. Some are just for entertainment value, and that needs to be licensed, which is an option. [For vidders? Not at all!] Online video best practices acknowledge that these types of uses can be infringing—use shouldn’t be so extensive or pervasive that it ceases to function as critique and satisfies taste for the thing or kind of thing.
 
Q: In the record?
 
A: that’s an exhibit to the proponents’ comments.  [We don’t remember that offhand, but we don’t deny its existence and we think they’re pretty cool.] Discussed at documentarians’ hearing. Where a use is a pretext to exploit the popularity or appeal of the work employed or amount is excessive, fair use shouldn’t apply. My clients rely on fair use, even in entertainment, but pure entertainment isn’t at the heart of fair use so we want existing exemptions.
 
Q: do you have opinion about the SPN clip we saw?
 
A: I think I’d need to know more about the series.  I did see what was added and subtracted which seemed significant, but I don’t know which way I’d go.
 
Proponents say we aren’t qualified to evaluate transformativeness. I’m not qualified to talk about quantitative value, but lawyers and judges have to be qualified to apply the fair use factors objectively otherwise no one other than a defendant could opine on fairness.
 
Q: have you opined on their examples?
 
A: we did not try to provide an opinion on every example, and we aren’t claiming there aren’t a significant number of fair uses; my statements today are more about preserving the limitations that are in place, and not everything out there is noninfringing and caution is called for. We only pointed to a couple of videos, and they gave more information about the meaning of the videos; I still have questions about them but they did explain them.  I don’t think the only person who can have the answer is a defendant. [Really not what we’re saying.] What audience takes away is relevant. [Yes!] And it’s not only the intended audience. [No!] It has to be a reasonable observer.  Targeted community is relevant, but can’t be the only question.  Salinger v. Colting: defendant wrote an unauthorized sequel to Catcher in the Rye and there was an expert witness. Second Circuit affirmed Dct.
 
Williams: need good definition of what this covers. Some of what we’ve heard was helpful. Would take more drafting, but sounds like remixes and mashups that are either parodies or satires. Traditional core political statements.  Art display presentations.  [these are the kinds of additions that don’t provide guidance; they take guidance away.]
 
Q: Are you objecting to noncommercial, current description?
 
A: we want that to stay, but we want more than a reference to noncommercial—starts to swallow up other things not intended to be swallowed up.
 
Q: what are some examples of things that weren’t intended under this exemption?
A: currently, K-12 are not covered by educational exemption but there’s an argument for noncommercial video covering them.
 
Q: proponents have used National History Day—should that be excluded.
 
A: I don’t recall that. Is that students creating vids?
 
C: Could be remix video illustrating historical events from films.
 
A: I’m hesitant to speak to that. I’d respond in a letter.
 
Q: are you aware of instances where the prior exemption was abused?
 
A: I have seen on various blogs mention of the lack of clarity and maybe the noncommercial exemption covers K-12 but not claiming abuse. Ability to collect evidence of abuse is really not possible and unfair to put that burden on us.  [You study sources of piracy all the time.] We are honestly concerned about threat of harm.
 
Q: are you seeing an uptick in infringement?
 
A: there are lots of marketplace factors at issue.  I haven’t heard any study of the exemptions increasing infringement.
 
C: Underlying concern—forget about overlap with other exemptions. What’s too broad?
 
A: we think it’s important to cover conduct vetted during the process.  Trying to identify three types of conduct arguably noninfringing a large portion of the time. [fair use = noninfringing all the time] Just saying noncommercial videos is potentially very expansive. [what bads does it cover?] Not all noncommercial uses are fair uses [which is why we say fair use in our proposal] we want the definitions as clear as possible for each exemption so things that aren’t intended to be swept up will be kept outside.
 
Footnote 7 of opening petition: Screencrave.com—10 best YT trailer remixes ever.  Some are old. Some of them seemed pretty clear but others were questionable fair use. #10 is a video asking the question “what if in Ferris Bueller’s Day Off he were sick the whole time?” It’s funny.  I don’t see the real criticism or commentary there. Another if Home Alone was really a horror film. It’s entertaining but borderline.  The genius is it doesn’t change the genre but cranks it up to 11. You didn’t go for plot but for things exploding and this trailer shows it—the movie we wish was made. Sounds like most entertaining portions. Depends on how you perceive it.
 
Q: and you want us to look at the HP Lexicon case?
 
A: yeah, that’s more extensive copying, but those cases support caution.
 
Small sliver of stuff only available on BR. Only 2 examples.  As in 2012, Register decided it was insignificant.
 
Q: do you object to clarifying streaming v. download?
 
A: that’s a bit of a wrinkle. Current exemption – distributed. You could read that narrowly, but I think in the Recommendation the looser language implies streaming video was supposed to be covered. We wouldn’t oppose clarification but are hesitant on short portions, if you haven’t paid for access to a full copy, you shouldn’t be able to walk away from your streaming subscription with a bunch of full copies of works.
 
No streaming providers here: note that MPAA member studios are partners/investors in streaming services and they want cautious approaches.  I regret there’s no business executive witness, but we did produce them in LA, including Chief Tech Officer of Disney.
 
Q: exemptions for screencap?
 
A: we need it for a few situations especially political remixers and given the uncertainty we need it.
 
Q: and motion pictures?
 
A: we’re cool with that as long as it includes TV.
 
Q: primarily language.  We did try to clarify that paying for production can be considered noncommercial.
 
A: we’re totally happy with putting that in the guidance.
 
RT, what I didn’t get to say: [on transformativeness: we don’t think it’s the creator’s own view; have the interpretations of flourishing existing community; Mr. Williams has given an excellent explanation for why you shouldn’t put other limits on the exemption, precisely so courts can apply these factors. Our limit is perfect; his limits don’t work and take away guideposts.  Bleistein’s antidiscrimination principle: don’t judge what you don’t understand. A judge would hear this evidence.]
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DMCA hearings: 3D printing

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
Stacy Cheney (NTIA)
 
Proposed Class 26: Software – 3D printers
This proposed class would allow circumvention of TPMs on
firmware or software in 3D printers to allow use of non-manufacturer-approved
feedstock in the printer.
 
Proponents: Sherwin Siy, Public Knowledge: be specific about
the copyrighted work at issue. The software embedded in the printer, not
anything produced by the printer, and not even necessarily the software
embedded on the chip.  Since 2003, when
2D printers came up, Lexmark has
moved that a bit more out of the arena of discussion.  Adverse effect: Stratasys is quite clear
about how they view their ability to lock TPMs to particular printers can
benefit them, and their incentives are clear.
 
Charlesworth: tell me more about the software as you
understand it at issue here.
 
A: we’re concerned about whether accessing the software in
the printer would constitute access under 1201. 
 
Charlesworth: reading through submissions, seemed that there
are two components: (1) the chip on the cartridge that (2) then locks into the
software on the machine. How does your exemption deal with both, or does it?
 
A: Ultimately what we want is to be able to use a chip that
was not created by the original mfgr or use feedstock not created by the
original mfgr. Both programs are involved, but the © work at issue would be the
one in the printer, as in the Lexmark
case. 
 
Charlesworth: what’s the nature of the circumvention?
 
A: number of ways. Could copy software on the chip.  That would interface w/the computer program
on the printer.  Q is whether access by
using the printer and creating potential RAM copies triggers 1201. Substitute
chip.  You could also reuse/modify an
existing chip.
 
Charlesworth: and in copying software is there circumvention
involved in the chip?
 
A: I don’t think there’s circumvention.  It’s likely to access a noncopyrighted
program. But to the extent that’s necessary … It would vary based on the nature
of the system. 
 
Charlesworth: what TPM is on a chip?
 
A: it protects the interface b/t the chip and the printer
itself.  In many cases there is no overt
TPM, it’s just a question of reading off the chip itself. It depends on other
variables.
 
C: there might be a © issue but not a TPM issue.
 
A: yes.
 
C: and the machine?
 
A: the circumvention would be circumventing the measures
that require a mfgr-created chip to operate. 
Authentication. The TPM controls the authentication. 
 
Q: are you doing anything to the software itself?
 
A: it depends on what the feedstock is. You might want to
change some of the variables in the program itself.  It would vary depending on the model of the
machine and other factors.
 
Michael Weinberg, former VP at Public Knowledge, now Shapeways,
here in personal capacity: Part of the issue is that once you get past an
abstract level: feedstock container and chip verifying that the container came
from mfgr—there are a number of technical ways to implement that verification.
You could make the chip very dumb, with most info/action on the software side.
You could structure the system w/ more info in the feedstock container chip so
the two pieces talk to each other more intensively. Depends on how you
implement it. The key thing is that at a high level of abstraction, there is at
a minimum software on the printer waiting to be used until it can verify that
it has approved input and that software is likely protected by © so the only
way you can access the interface is to convince it you have approved feedstock.
Implementation varies from machine to machine and mfgr to mfgr.
 
C: the TPM is the need for the chip to make the printer run?
Explain what the TPM is.
 
Siy: the system in its entirety that requires the presence
of the chip. Whether the code is on the chip or more likely on the printer,
that software code is the TPM, the part that requests authentication.
 
Weinberg: it’s easier to describe a dumb chip on a cartridge
and a smarter printer, but I want to be clear that we aren’t restricting our
request to that specific type of system.
 
C: what do you mean by a dumb chip?
 
Weinberg: may be as simple as serial number or RFID.  Information presenting to be read.
 
C: like a key.
 
Weinberg: like a swipe card to get into a building. It’s not
doing any processing, but w/out it the locks on the building won’t work. You
could have a smartphone that would communicate back and forth with the
building.  The level of technical
sophistication in keycard v. phone is different.
 
Q: is this intended primarily for consumer use or at the
manufacturer level?  Larger 3D printers?
 
Weinberg: Motivated by consumer use, but no reason to
exclude manufacturing/more sophisticated commercial players. Worth noting there
may be and likely are noncopyright related restrictions on what owners or
possessors are doing—contractual, warranty. The focus is the ©/DRM part.
 
Q: This is just about feedstock bypass, not software that
reads 3D modeling.
 
Weinberg: exactly correct. Nothing to do w/models going into
machine or coming out. Not even related to software running the machine except
for the feedstock part.
 
Q: does breaking TPM for feedstock affect 3D modeling
software?
 
A: the process that reads and verifies the input doesn’t
have to be linked to the process linked to slice the model.  One thing the machine will do is slice model
horizontally into thin layers and establish a traveling path through each layer
to create it. While the path is determined by the type of material, it’s not
determined by the origin. It could be implemented in a tied way on a machine.
 
Opponents: Ed Kerry (sp?), Stratasys Ltd. (or designated
alternate Stratasys witness): The output is very dependent on the material and
authenticity, though the input is not.
 
A: agree.
 
Siy: though that only means product quality, not © status.
 
C: might different TPMs protect the basic software v. the
modeling software? Or once you break it do you have access to everything?
 
Weinberg: there’s no technical reason. Mfgr can decide how to
implement it differently. You can choose one that simply governs feedstock
source.
 
C: what’s in the market?
 
Weinberg: I don’t know b/c no one is particularly interested
in making unauthorized copies of the software that runs the machine. The reason
people worry about these is that they want to use unapproved feedstock; not
discussion about accessing the software to copy it.
 
C: do you need to copy the software to modify the feedstock?
 
A: depends on the mfgr.
 
C: What is the legal basis for your exemption?
 
Weinberg: two core harms. 
Both flow from a cloud of ambiguity over whether this behavior even
triggers 1201.
 
C: what is the noninfringing use? [um, making stuff, which
doesn’t itself implicate ©?]
 
Siy: We want to figure out §106 uses—RAM copies made in the
utilization in the printer itself, or modifications necessary to use the
feedstock.  Both fall within §117.
 
C: if you alter the software you might be creating a
derivative work.
 
Siy: allowed by §117: adaptations
or copies created as essential step. They aren’t being made to distribute or
even leave the machine.
 
C: who owns the computer program in the machine?
 
Siy: the person who owns the machine.
 
C: what’s the evidence of that?
 
Siy: you could recognize that to the extent owned by the
hardware owner, §117 requires; MDY ruled that any contracts were covenants when
the Q is whether the use of the software is licensed or not.
 
C: what are the typical mfgr practices?
 
Siy: regardless of language of license, that will allow you
to use the printer.
 
C: but are they even claiming it’s under license?
 
Siy: it will vary from mfgr to mfgr.
 
Weinberg: especially in the consumer market, while I don’t
have a study of current licenses, there are probably 70 desktop 3D printer
companies of highly variable legal sophistication. It would be highly
surprising if you didn’t see almost every version of © license theory applied
to software in this space, including silence.
 
C: have you seen any purported licenses?
 
W: not in context of these proceedings.
 
C: any you’re sure are sold without a claimed license?
 
W: there are printers that are open licensed.
 
Q: have you looked at the printers using TPMs for their
licenses?
 
A: no.
 
Kerry: VP for Stratasys. 
Deal w/ top 120 manufacturers in the world. Prototypes/mfgr of parts. Those
same customers buy low end Makerbots as well. 
New 3D companies this year: 150. We have revolutionary technologies,
including using inkjet heads. Our software calculates droplets and can use 3
different materials at a time. My customers also use our service business,
where we make parts for customers. We are helping them go to direct digital
manufacturing of tools and end use parts.
 
A large airplane manufacturer is putting 1000 plastic parts
on a plane; we spent years certifying this plastic for airplane parts. The
highly integrated machine that prints it as FAA certified part is very
important.
 
C: Are the airline companies making those parts?
 
A: they’re airline companies and downstream manufacturers.
 
C: why do they care?
 
A: customers don’t want anybody to be able to get into that
integrated system. They want a reliable part that is exactly what they declared
it to be. They don’t want people using cheaper feedstock. Traceable and
reliable to be kept for years. [And that is related to © how?] Important that
no derivative works are created and no feedstock introduced.
 
C: are there specific regs on making airplane parts?
 
A: The FAA. The FDA regulates medical devices. I’m not an
expert.  [Why is the © Office making
decisions about this?] We help our customers certify parts and materials to the
FAA and FDA.
 
C: these are manufacturing type customers, not Makerbot
customers.
 
A: correct.
 
Q: can you test the part itself to make sure it’s used the
right material?
 
A: The customer does test the part, though I don’t know if
they test the material. Test it as they’d test from any manufacturer.

C: do they test every part? [© Office lawyer as airplane mechanic.]
 
A: depends on what the part is. 
 
Q: Is the fear that someone not in the normal manufacturing
stream gets ahold of inferior materials and then tries to put that part into
the stream via passing off?
 
A: that’s my customers’ fear. They have multiple suppliers
who supply counterfeit parts, which would affect our brand and that of the
customers.  [Wouldn’t that already be
illegal and violate the suppliers’ contracts and probably trademarks?]
 
Our printers are fully integrated systems. They’re servers,
not printers. We’re talking about the operating system and derivative
works.  Have to meet tight
tolerances.  Controlling the slicing is
important. We track lot numbers, enabling verification of parts.  Inkjets sold 600 million printers last year;
we’ve only sold 120,000 systems and we’re the biggest—nascent industry.
 
C: answer Makerbot v. more sophisticated: how do you handle
the software?
 
A: by license. 
 
C: do you provide ongoing updates?
 
A: yes, we have an ongoing relationship. Thingiverse. We
accept files made by different design software.
 
Weinberg: But Thingiverse doesn’t update the software.
 
C: do you send out patches to the Makerbot?
 
A: don’t know, but on the other lines we do.
 
Weinberg: I own a no longer supported Makerbot.  There are machines that are no longer
upgraded.
 
C: how do you get upgrades if they were there?
 
Weinberg: SD cards were required. As machines get more
sophisticated they might be able to do direct downloads; it depends.
 
C: in many cases, you might be receiving upgrades for a
consumer device.
 
A: it’s possible.
 
Q: is that software encrypted?
 
Kerry: it’s compiled to run on the printer. The feedstock
chip is encrypted.
 
C: what is your warranty policy if someone modifies your
printer?
 
Kerry: it’s no longer warranted. 1 year warranty otherwise.
 
Q: are you claiming the feedstock chips are copyrightable?
 
Kerry: not today, but we anticipate it might be.
 
3D printing is more complicated than 2D printing.  IP is critical to the industry to justify
investments for future development. I’m not a lawyer or DMCA expert, but I
understand it was enacted to prevent circumvention of TPMs designed to prevent
copying of IP. Exemptions were to be exceptional—a fail safe where there are
substantial adverse effects on noninfringing uses.
 
Petitioners’ proposed exemption would deprive industry of
useful tool during critical period. They aren’t seeking lawful access, but misusing
the exemption process to encourage users to bypass controls where DMCA doesn’t
apply and encourage users to infringe. Showing is insufficient.
 
C: Cheaper feedstock is a benefit, no?
 
Siy: and different.
 
Kerry: today that chip is not copyright protected, though we
do plan to have one.
 
C: are you saying you don’t object to doing something w/ the
chip?
 
Kerry: we highly object to counterfeiting the chip and to
the exemption.  This industry is just
starting. They will not do medical devices, airplane parts, or car parts if
they can be hacked.
 
C: on the consumer end, if I buy a makerbot and want to use
different feedstock and break my warranty, so what?
 
Kerry: if the part comes out not right it affects our
brand.  Bigger concern on high end b/c
derivative works of our server system is a huge issue b/c of our competitors in
other companies. Opening that up for competition and un-integrating the system
will stunt the industry.
 
C: are you familiar with the Lexmark case saying that using a different cartridge didn’t violate
©?
 
Kerry: yes, but that wasn’t a server.  Printer toner is basically all the same. We
print 100s of different kinds of plastics in different ways. Not a fair
comparison.  People rely on the objects
we make.
 
C: respond to concern about the integrity of mfg chain?
 
Siy: in both consumer and commercial context, the person
making use of the exemption is the person using the printer. They’ll be fully
aware they’re the ones using 3d party feedstock.  That’s their responsibility. [And has nothing
to do with ©!]  As for the commercial
context, the FAA regulations will dictate what’s relevant. If you need a
certain plastic, then the certification will say so.
 
C: but the concern is that bad guys will sneak bad stuff
into the chain, b/c it will seem legitimate to use cheaper stuff.  
 
Siy: Q of integrity of product as functional object depends
on manufacturer and supplier. If they’re counterfeit, they’re counterfeit. The
TPMs don’t solve the problem of unreliable suppliers.
 
C: makes it more likely that suppliers would circumvent and
use inferior feedstock.
 
Siy: people would be violating their contracts.
 
Kerry: there are plenty of open printers w/ no encryption.
 
Siy: people who want to produce parts on the cheap can do
that already then.
 
C: do you have specific examples in the record of people who
want to circumvent commercial/mfg type printers as opposed to consumer
printers?
 
Siy: no.
 
Weinberg: there are companies actively developing
alternative feedstocks for industrial printers. They see themselves engaging in
an activity unrelated to © and don’t understand why they should come to this
proceeding.  One thing that can easily
get lost: you have the idea of the primary benefit being lower costs of
existing materials, but there also new materials for existing printers that are
already owned. They’re looking at specific printers b/c different printers
compete on different tech/functional capabilities—they aren’t a commodity.

C: why not just target it to open printers?
 
Weinberg: there are in desktop space, less so commercial. But
the reason is some printers are the only printers that can achieve particular
tech goals. If some are locked down you can’t necessarily achieve the same
goal.
 
C: example?
 
Weinberg: Stratasys says there are things only they can do.
 
C: others?
 
Weinberg: the people who’ve developed open bio-3 printing
started w/ a Stratasys machine b/c that was the machine w/ the technical
ability they required for initial stages of their process.
 
Kerry: we regularly offer licenses for research/development
for this exact reason. There are a lot of developing materials, and we’re the
#1 material developer. It’s our greatest area of investment.
 
Weinberg: some of the techniques are patented, and by
definition they’re only found in one printer. 20 years of patents tied to
specific manufacturer.
 
Q: how useful 1201(f) could be?
 
Siy: That was pre Lexmark—we don’t know about the printer
engine.  About reverse engineering, not
about interoperability. Copying chip directly makes 1201(f) uncertain
alternative. As for reverse engineering the software itself: the Q is what the allegedly
infringing use. If the act is reverse engineering, 1201(f) works, but the use
itself doesn’t get certainty from (f). 
It does not obviate the need for an exemption across the uses necessary
depending on the circumvention at issue.
 
Q: specifics?
 
Siy: no b/c of wide number of ways in which TPMs can be
implemented. Kerry just said they wanted to include more
sophisticated/copyrightable software on chips. Where the circumvention is
necessary might change.
 
§117 is one of the ways in which the use by a consumer of a
3D printer of third party is feedstock is noninfringing. There are other
reasons for noninfringing uses—use with permission. Even the most restrictive
license will provide for the use of software. The only way in which use of a
third party feedstock could infringe would be if you believed that a functional
condition of the grant was not using third party feedstock.
 
C: but you might be altering the software.
 
Siy: but you have the right to use.  [I don’t know why alterations in parameters
would create a derivative work—if it’s swapping one set of physical facts about
a material for another, that’s not enough creativity to create a separate work.]
Also fair use.
 
Q: how much change in the software would be necessary?
 
Kerry: we test and tune the machine for new feedstock, and
sometimes up to a year before the machine produces a high number of reliable
parts. Motion control, heating, distribution, and layering b/c customers demand
precision parts.
 
Q: but how much of the code is changed?
 
A: don’t know.
 
Q: any other distinguishing characteristics b/t high end and
low end consumers? We say prosumer, tends to be professional. Home market is
lower end. Pro engineer will use one on his desk.

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DMCA hearings: 3D printing

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
Stacy Cheney (NTIA)
 
Proposed Class 26: Software – 3D printers
This proposed class would allow circumvention of TPMs on firmware or software in 3D printers to allow use of non-manufacturer-approved feedstock in the printer.
 
Proponents: Sherwin Siy, Public Knowledge: be specific about the copyrighted work at issue. The software embedded in the printer, not anything produced by the printer, and not even necessarily the software embedded on the chip.  Since 2003, when 2D printers came up, Lexmark has moved that a bit more out of the arena of discussion.  Adverse effect: Stratasys is quite clear about how they view their ability to lock TPMs to particular printers can benefit them, and their incentives are clear.
 
Charlesworth: tell me more about the software as you understand it at issue here.
 
A: we’re concerned about whether accessing the software in the printer would constitute access under 1201. 
 
Charlesworth: reading through submissions, seemed that there are two components: (1) the chip on the cartridge that (2) then locks into the software on the machine. How does your exemption deal with both, or does it?
 
A: Ultimately what we want is to be able to use a chip that was not created by the original mfgr or use feedstock not created by the original mfgr. Both programs are involved, but the © work at issue would be the one in the printer, as in the Lexmarkcase. 
 
Charlesworth: what’s the nature of the circumvention?
 
A: number of ways. Could copy software on the chip.  That would interface w/the computer program on the printer.  Q is whether access by using the printer and creating potential RAM copies triggers 1201. Substitute chip.  You could also reuse/modify an existing chip.
 
Charlesworth: and in copying software is there circumvention involved in the chip?
 
A: I don’t think there’s circumvention.  It’s likely to access a noncopyrighted program. But to the extent that’s necessary … It would vary based on the nature of the system. 
 
Charlesworth: what TPM is on a chip?
 
A: it protects the interface b/t the chip and the printer itself.  In many cases there is no overt TPM, it’s just a question of reading off the chip itself. It depends on other variables.
 
C: there might be a © issue but not a TPM issue.
 
A: yes.
 
C: and the machine?
 
A: the circumvention would be circumventing the measures that require a mfgr-created chip to operate.  Authentication. The TPM controls the authentication. 
 
Q: are you doing anything to the software itself?
 
A: it depends on what the feedstock is. You might want to change some of the variables in the program itself.  It would vary depending on the model of the machine and other factors.
 
Michael Weinberg, former VP at Public Knowledge, now Shapeways, here in personal capacity: Part of the issue is that once you get past an abstract level: feedstock container and chip verifying that the container came from mfgr—there are a number of technical ways to implement that verification. You could make the chip very dumb, with most info/action on the software side. You could structure the system w/ more info in the feedstock container chip so the two pieces talk to each other more intensively. Depends on how you implement it. The key thing is that at a high level of abstraction, there is at a minimum software on the printer waiting to be used until it can verify that it has approved input and that software is likely protected by © so the only way you can access the interface is to convince it you have approved feedstock. Implementation varies from machine to machine and mfgr to mfgr.
 
C: the TPM is the need for the chip to make the printer run? Explain what the TPM is.
 
Siy: the system in its entirety that requires the presence of the chip. Whether the code is on the chip or more likely on the printer, that software code is the TPM, the part that requests authentication.
 
Weinberg: it’s easier to describe a dumb chip on a cartridge and a smarter printer, but I want to be clear that we aren’t restricting our request to that specific type of system.
 
C: what do you mean by a dumb chip?
 
Weinberg: may be as simple as serial number or RFID.  Information presenting to be read.
 
C: like a key.
 
Weinberg: like a swipe card to get into a building. It’s not doing any processing, but w/out it the locks on the building won’t work. You could have a smartphone that would communicate back and forth with the building.  The level of technical sophistication in keycard v. phone is different.
 
Q: is this intended primarily for consumer use or at the manufacturer level?  Larger 3D printers?
 
Weinberg: Motivated by consumer use, but no reason to exclude manufacturing/more sophisticated commercial players. Worth noting there may be and likely are noncopyright related restrictions on what owners or possessors are doing—contractual, warranty. The focus is the ©/DRM part.
 
Q: This is just about feedstock bypass, not software that reads 3D modeling.
 
Weinberg: exactly correct. Nothing to do w/models going into machine or coming out. Not even related to software running the machine except for the feedstock part.
 
Q: does breaking TPM for feedstock affect 3D modeling software?
 
A: the process that reads and verifies the input doesn’t have to be linked to the process linked to slice the model.  One thing the machine will do is slice model horizontally into thin layers and establish a traveling path through each layer to create it. While the path is determined by the type of material, it’s not determined by the origin. It could be implemented in a tied way on a machine.
 
Opponents: Ed Kerry (sp?), Stratasys Ltd. (or designated alternate Stratasys witness): The output is very dependent on the material and authenticity, though the input is not.
 
A: agree.
 
Siy: though that only means product quality, not © status.
 
C: might different TPMs protect the basic software v. the modeling software? Or once you break it do you have access to everything?
 
Weinberg: there’s no technical reason. Mfgr can decide how to implement it differently. You can choose one that simply governs feedstock source.
 
C: what’s in the market?
 
Weinberg: I don’t know b/c no one is particularly interested in making unauthorized copies of the software that runs the machine. The reason people worry about these is that they want to use unapproved feedstock; not discussion about accessing the software to copy it.
 
C: do you need to copy the software to modify the feedstock?
 
A: depends on the mfgr.
 
C: What is the legal basis for your exemption?
 
Weinberg: two core harms.  Both flow from a cloud of ambiguity over whether this behavior even triggers 1201.
 
C: what is the noninfringing use? [um, making stuff, which doesn’t itself implicate ©?]
 
Siy: We want to figure out §106 uses—RAM copies made in the utilization in the printer itself, or modifications necessary to use the feedstock.  Both fall within §117.
 
C: if you alter the software you might be creating a derivative work.
 
Siy: allowed by §117: adaptationsor copies created as essential step. They aren’t being made to distribute or even leave the machine.
 
C: who owns the computer program in the machine?
 
Siy: the person who owns the machine.
 
C: what’s the evidence of that?
 
Siy: you could recognize that to the extent owned by the hardware owner, §117 requires; MDY ruled that any contracts were covenants when the Q is whether the use of the software is licensed or not.
 
C: what are the typical mfgr practices?
 
Siy: regardless of language of license, that will allow you to use the printer.
 
C: but are they even claiming it’s under license?
 
Siy: it will vary from mfgr to mfgr.
 
Weinberg: especially in the consumer market, while I don’t have a study of current licenses, there are probably 70 desktop 3D printer companies of highly variable legal sophistication. It would be highly surprising if you didn’t see almost every version of © license theory applied to software in this space, including silence.
 
C: have you seen any purported licenses?
 
W: not in context of these proceedings.
 
C: any you’re sure are sold without a claimed license?
 
W: there are printers that are open licensed.
 
Q: have you looked at the printers using TPMs for their licenses?
 
A: no.
 
Kerry: VP for Stratasys.  Deal w/ top 120 manufacturers in the world. Prototypes/mfgr of parts. Those same customers buy low end Makerbots as well.  New 3D companies this year: 150. We have revolutionary technologies, including using inkjet heads. Our software calculates droplets and can use 3 different materials at a time. My customers also use our service business, where we make parts for customers. We are helping them go to direct digital manufacturing of tools and end use parts.
 
A large airplane manufacturer is putting 1000 plastic parts on a plane; we spent years certifying this plastic for airplane parts. The highly integrated machine that prints it as FAA certified part is very important.
 
C: Are the airline companies making those parts?
 
A: they’re airline companies and downstream manufacturers.
 
C: why do they care?
 
A: customers don’t want anybody to be able to get into that integrated system. They want a reliable part that is exactly what they declared it to be. They don’t want people using cheaper feedstock. Traceable and reliable to be kept for years. [And that is related to © how?] Important that no derivative works are created and no feedstock introduced.
 
C: are there specific regs on making airplane parts?
 
A: The FAA. The FDA regulates medical devices. I’m not an expert.  [Why is the © Office making decisions about this?] We help our customers certify parts and materials to the FAA and FDA.
 
C: these are manufacturing type customers, not Makerbot customers.
 
A: correct.
 
Q: can you test the part itself to make sure it’s used the right material?
 
A: The customer does test the part, though I don’t know if they test the material. Test it as they’d test from any manufacturer.
C: do they test every part? [© Office lawyer as airplane mechanic.]
 
A: depends on what the part is. 
 
Q: Is the fear that someone not in the normal manufacturing stream gets ahold of inferior materials and then tries to put that part into the stream via passing off?
 
A: that’s my customers’ fear. They have multiple suppliers who supply counterfeit parts, which would affect our brand and that of the customers.  [Wouldn’t that already be illegal and violate the suppliers’ contracts and probably trademarks?]
 
Our printers are fully integrated systems. They’re servers, not printers. We’re talking about the operating system and derivative works.  Have to meet tight tolerances.  Controlling the slicing is important. We track lot numbers, enabling verification of parts.  Inkjets sold 600 million printers last year; we’ve only sold 120,000 systems and we’re the biggest—nascent industry.
 
C: answer Makerbot v. more sophisticated: how do you handle the software?
 
A: by license. 
 
C: do you provide ongoing updates?
 
A: yes, we have an ongoing relationship. Thingiverse. We accept files made by different design software.
 
Weinberg: But Thingiverse doesn’t update the software.
 
C: do you send out patches to the Makerbot?
 
A: don’t know, but on the other lines we do.
 
Weinberg: I own a no longer supported Makerbot.  There are machines that are no longer upgraded.
 
C: how do you get upgrades if they were there?
 
Weinberg: SD cards were required. As machines get more sophisticated they might be able to do direct downloads; it depends.
 
C: in many cases, you might be receiving upgrades for a consumer device.
 
A: it’s possible.
 
Q: is that software encrypted?
 
Kerry: it’s compiled to run on the printer. The feedstock chip is encrypted.
 
C: what is your warranty policy if someone modifies your printer?
 
Kerry: it’s no longer warranted. 1 year warranty otherwise.
 
Q: are you claiming the feedstock chips are copyrightable?
 
Kerry: not today, but we anticipate it might be.
 
3D printing is more complicated than 2D printing.  IP is critical to the industry to justify investments for future development. I’m not a lawyer or DMCA expert, but I understand it was enacted to prevent circumvention of TPMs designed to prevent copying of IP. Exemptions were to be exceptional—a fail safe where there are substantial adverse effects on noninfringing uses.
 
Petitioners’ proposed exemption would deprive industry of useful tool during critical period. They aren’t seeking lawful access, but misusing the exemption process to encourage users to bypass controls where DMCA doesn’t apply and encourage users to infringe. Showing is insufficient.
 
C: Cheaper feedstock is a benefit, no?
 
Siy: and different.
 
Kerry: today that chip is not copyright protected, though we do plan to have one.
 
C: are you saying you don’t object to doing something w/ the chip?
 
Kerry: we highly object to counterfeiting the chip and to the exemption.  This industry is just starting. They will not do medical devices, airplane parts, or car parts if they can be hacked.
 
C: on the consumer end, if I buy a makerbot and want to use different feedstock and break my warranty, so what?
 
Kerry: if the part comes out not right it affects our brand.  Bigger concern on high end b/c derivative works of our server system is a huge issue b/c of our competitors in other companies. Opening that up for competition and un-integrating the system will stunt the industry.
 
C: are you familiar with the Lexmark case saying that using a different cartridge didn’t violate ©?
 
Kerry: yes, but that wasn’t a server.  Printer toner is basically all the same. We print 100s of different kinds of plastics in different ways. Not a fair comparison.  People rely on the objects we make.
 
C: respond to concern about the integrity of mfg chain?
 
Siy: in both consumer and commercial context, the person making use of the exemption is the person using the printer. They’ll be fully aware they’re the ones using 3d party feedstock.  That’s their responsibility. [And has nothing to do with ©!]  As for the commercial context, the FAA regulations will dictate what’s relevant. If you need a certain plastic, then the certification will say so.
 
C: but the concern is that bad guys will sneak bad stuff into the chain, b/c it will seem legitimate to use cheaper stuff.  
 
Siy: Q of integrity of product as functional object depends on manufacturer and supplier. If they’re counterfeit, they’re counterfeit. The TPMs don’t solve the problem of unreliable suppliers.
 
C: makes it more likely that suppliers would circumvent and use inferior feedstock.
 
Siy: people would be violating their contracts.
 
Kerry: there are plenty of open printers w/ no encryption.
 
Siy: people who want to produce parts on the cheap can do that already then.
 
C: do you have specific examples in the record of people who want to circumvent commercial/mfg type printers as opposed to consumer printers?
 
Siy: no.
 
Weinberg: there are companies actively developing alternative feedstocks for industrial printers. They see themselves engaging in an activity unrelated to © and don’t understand why they should come to this proceeding.  One thing that can easily get lost: you have the idea of the primary benefit being lower costs of existing materials, but there also new materials for existing printers that are already owned. They’re looking at specific printers b/c different printers compete on different tech/functional capabilities—they aren’t a commodity.
C: why not just target it to open printers?
 
Weinberg: there are in desktop space, less so commercial. But the reason is some printers are the only printers that can achieve particular tech goals. If some are locked down you can’t necessarily achieve the same goal.
 
C: example?
 
Weinberg: Stratasys says there are things only they can do.
 
C: others?
 
Weinberg: the people who’ve developed open bio-3 printing started w/ a Stratasys machine b/c that was the machine w/ the technical ability they required for initial stages of their process.
 
Kerry: we regularly offer licenses for research/development for this exact reason. There are a lot of developing materials, and we’re the #1 material developer. It’s our greatest area of investment.
 
Weinberg: some of the techniques are patented, and by definition they’re only found in one printer. 20 years of patents tied to specific manufacturer.
 
Q: how useful 1201(f) could be?
 
Siy: That was pre Lexmark—we don’t know about the printer engine.  About reverse engineering, not about interoperability. Copying chip directly makes 1201(f) uncertain alternative. As for reverse engineering the software itself: the Q is what the allegedly infringing use. If the act is reverse engineering, 1201(f) works, but the use itself doesn’t get certainty from (f).  It does not obviate the need for an exemption across the uses necessary depending on the circumvention at issue.
 
Q: specifics?
 
Siy: no b/c of wide number of ways in which TPMs can be implemented. Kerry just said they wanted to include more sophisticated/copyrightable software on chips. Where the circumvention is necessary might change.
 
§117 is one of the ways in which the use by a consumer of a 3D printer of third party is feedstock is noninfringing. There are other reasons for noninfringing uses—use with permission. Even the most restrictive license will provide for the use of software. The only way in which use of a third party feedstock could infringe would be if you believed that a functional condition of the grant was not using third party feedstock.
 
C: but you might be altering the software.
 
Siy: but you have the right to use.  [I don’t know why alterations in parameters would create a derivative work—if it’s swapping one set of physical facts about a material for another, that’s not enough creativity to create a separate work.] Also fair use.
 
Q: how much change in the software would be necessary?
 
Kerry: we test and tune the machine for new feedstock, and sometimes up to a year before the machine produces a high number of reliable parts. Motion control, heating, distribution, and layering b/c customers demand precision parts.
 
Q: but how much of the code is changed?
 
A: don’t know.
 
Q: any other distinguishing characteristics b/t high end and low end consumers? We say prosumer, tends to be professional. Home market is lower end. Pro engineer will use one on his desk.
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DMCA hearings: multimedia ebooks

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
Stacy Cheney (NTIA)
 
Proposed Class 5: Audiovisual works – derivative uses –
multimedia e-books This proposed class would allow circumvention of access controls
on lawfully made and acquired motion pictures used in connection with
multimedia e-book authorship. This exemption has been requested for audiovisual
material made available in all formats, including DVDs protected by CSS,
Blu-ray discs protected by AACS, and TPM-protected online distribution
services.
 
Proponents: Bobette Buster, Busterfilms: presentation of
Exh. 22.  Do/Story: how to tell a
compelling story, best-selling book. Wants enhanced ebook: lectures are 6 hours
long—deconstruct a particular film, 16 clips for the first ebook of a total of
13 minutes.  Found an agency to embed
this.  Different concerns: size (2 gigs
now); iBooks Author dominates the market with self-creating books.  EULA requires quality control. They aren’t
accepting SD, because why would they? Apple is in the business of creating
extraordinary wonder, as the products get better each year. They want best
possible environment.
 
Charlesworth: Apple doesn’t accept anything but HD?  Have you seen this policy in writing? Have
they said that to you?
 
A: No. I’d have to commission $1000s of work to submit
it.  They say you have to read what they
say.  What they say is they’ll decide
once we see your fully embedded document. 
 
Previously showed Schindler’s List, Godfather, Toy Story 2;
now showing Shawshank Redemption w/a maggot being pulled out of breakfast, then
fed to bird (universal symbol of freedom). Visual metaphor of abstract idea.
You can’t see him letting the bird go in SD; you shouldn’t have to be knocked
out of the emotional moment by asking “what is he doing in that black chunk of
the screen?” It eventually becomes clear but too late for the immersion.
 
Charlesworth: can you show me in Blu-Ray?
 
A: no, I have a Mac. 
The King’s Speech: a guy put against stripped wallpaper to show his
humiliation and embarrassment: he’s been stripped raw.  Climax of film: he has to give a live
speech.  You should experience the 3D
a-ha experience of the gold line going straight through his skull—I have to do
a lot of description to show what you should see.  Incredible sense of expansion.    The king is framed in gold in various
settings, a metaphor for his majesty. 
Final shot: framed in gold and white, which is crystal clear in HD, but
in SD it’s all fuzzed out.  He’s
offcenter because he’s been set aside by the king.
 
I was doing a major documentary about innovations in
storytelling in sound design, quantum leap w/George Lucas, who says “art is
technology.”  He had to invent the tech
for Star Wars. All art is moved by pushing the limits/boundaries of tech in
order to move the culture forward. 
Created the industry we exist in now. 
Major studios ask me to present my insights on storytelling; backwatered
by SD b/c entire industry is now set up on technological wonder. We’re the
8-track of the industry.  This is how I
inspire the creators of the content that drives Hollywood. Strange that I’m
made archival, and it won’t sell b/c people have tech in their hands that makes
it look decrepit.
 
Up-rezzing: a specious argument. People can see it on their
retina displays. It’s just filler. Your audience wants to see what they saw in
the theater or broadcast, which will no longer accept SD. I would like the
right to use the best available tech.
 
Q: you mentioned 13 minutes of clips in total? Would these
clips be in the ebook?
 
A: 16 clips, total 12:53 in ebook.  Yes, and the ones you saw 3 years ago.
 
Q: does Kindle have guidelines on image quality as well?
 
A: kindle is more unstable platform—not easy, downloadable,
gig size issues. Teams I’ve talked to say only iBook author is stable. Not
possible to make it available now.  There
are possible apps, web streaming—but it’s hard to do with the current issues.
 
Q: are you aware of others rejected by Apple?
 
A: digital collective in Berkeley—when they saw the level of
embedding, they weren’t willing to use their platform.  They suggested iBook Author.
 
Charlesworth: the platform couldn’t support SD?
 
A: the number of clips is a problem—the fear is it takes too
long to download.
 
Charlesworth: wouldn’t HD be bigger?
 
A: iBook Author now allows 2 gigs. We’d have to see how it
would be used up. I’d like to do a series and continue expanding this.
 
Charlesworth: tradeoff between level of definition and
amount of content you can include in the ebook? Could you have more SD clips
than HD clips if you’re limited by the amount? [She says Apple wouldn’t accept
SD, so no.]
 
A: I would like to present the intended quality the audience
expects, b/c I talk about all the elements, color, art direction,
cinematography, costumes, etc.—they all have to be as filmmaker intended and
studio released. I always suggest they see the full film.
 
Charlesworth: so you’d rather have fewer HD than more SD.
 
A: yes. There is a black and white ebook of students
enacting film scenes from Blade Runner—that was the only way to describe how
the cinematography works.  Totally
inadequate experience.  There’s a lot of
experimentation with best way to embed clips/engage audience. Engagement
problem b/c audience expects high quality.
 
Q: are there examples of Apple accepting HD clips?
 
A: for iBooks Author, no, but in Al Gore’s app Our Choice, there are excellent clips
created using a proprietary technology. You could do it with an app, but I
haven’t seen anything that successfully takes clips from movies.
 
Q: so it may be impossible?
 
A: I can do it in iBooks Author platform [distribution seems
to be the question]. Daunting to do it, and not up to my standards.
 
Charlesworth: will Apple distribute it? What if they don’t
allow it?
 
A: EULA says I might be able to use another platform to
distribute the book created on the platform, but their legalese suggests they
can come after you.
 
Charlesworth: have you reached out to Apple? You’re high
profile.
 
A: They are very formal. 
Any contact: they say “read our specifications and we will decide.”
Asked iPad designer: it’s a closed door policy, not open to individual
questions. They decide.
 
Q: have you approached publishers?
 
A: I looked at other platforms, which were promising but had
issues of fair use. Possibility of Vimeo Plus, private channel, but I
deconstruct major films frame by frame.
 
Charlesworth: why would the fair use issues differ platform
to platform?
 
A: They have nowhere near the marketability of iTunes, but
how do I let the audience know about it? 
I am building my profile, but the expense of doing it on my own in a
different market universe is too much.
 
Lerner: exemption only permits short portions. So if she had
to scrap the ebook idea and go to documentary on Vimeo, she wouldn’t be able to
do as extensive a presentation as she’d like.
 
Charlesworth: that leads to whether the longer portions are
fair use, which may less likely be fair use.
 
Lerner: Amount is a factor but she could discuss a huge
portion of a film if she’s analyzing it clip by clip and presenting commentary
on each clip—easily transformative. Given the extensive analysis that she does
frame by frame even a large portion would be a slam dunk fair use.
 
Charlesworth: she’d still be using short clips, but a lot of
them.
 
A: I can take a film like The Godfather and talk about it in
sequence for 6 hours (a 2 hour film). 
That’s why he’s saying it’s a slam dunk fair use. Maybe I would create a
lecture that is sequences in order to comply.
 
Charlesworth: are you saying you’d put 6 hours of the
Godfather on an ebook?
 
A: no, that’s not supported now. We’re talking about the
Vimeo alternative. 500 people get my lectures each year, and I’m trying to
democratize access.
 
Charlesworth: in an ebook, would you be using individual
clips that you wouldn’t consider short?
 
A: I would use them as determined by the four fair use
factors and the documentarians’ standards. 
I may take 3 or 4 moments from a movie, 8 seconds up to 1:30
(minutes:seconds) and framing them together relating to an important teachable
moment.  What I do when I’m teaching live
is showing the setup and payoff.  Longest
clip is 2:30.
 
Q: For your book, it sounds like using a publisher to get on
iBooks is something you’re no longer pursuing?
 
A: publishers are not interested b/c it’s financially
daunting to create the ebook w/no assurance that Apple would allow it. 
 
Q: so those concerns are based on fair use, not DMCA?
 
A: everybody would require me to prove fair use and I’d need
E&O, but the issue then is the expense of creating the iBook and the
possibility of it being rejected because of inferior tech.
 
Q: sound quality of high def?
 
A: SD is inferior to what the audience is used to now.  Films have been mixed with 5.1 or better. HD
promises the right mix. SD is generically mixed with some levels too high and
too low. Of course I talk about sound design, and interview the major sound
designers, who all lament the insufficiencies of older tech; they’ve remastered
older films to give them the best sound design possible. The Godfather was a
groundbreaker—and I often end up saying “what you should hear is children laughing in the background—a critical
emotional device/signals impending murder.”
 
Q: you can hear laughing in HD not SD?
 
A: yes.
 
Charlesworth: have you submitted that?
 
A: no, but I have it on my laptop. I don’t have before and
after.
 
Blake Reid, Michael Wolfe, and Molly Priya McClurg,
Samuelson-Glushko Technology Law & Policy Clinic at Colorado Law
(representing Authors Alliance)
 
Wolfe: Authors Alliance—primarily academics, including Nobel
Laureate and US Poet Laureate.  Most of
our work is info/resources for authors—often means helping them take advantage
of new opportunities from tech. Multimedia ebooks provide significant opportunity
to advance knowledge.  Example: copyright
education—copyright in characters, idea/expression. 
 
Charlesworth: James Bond?
 
A: yes, which would involve looking at film clips.  Need for specific examples.  Not a unique case—academics reference things
to the best of their ability. Text is easy.
 
Charlesworth: project would be to analyze character as he
appears in film?
 
A: would also incorporate Fleming’s novels, but yes.
 
Charlesworth: ultimate goal would be ebook?
 
A: yes. Academic endeavor is necessarily cumulative, deals
w/what’s come before. Might be historical significance of film, or
representation of history in a film, or a scholar in any field engaging
w/documentary of relevance. Accuracy and integrity are of the utmost importance
to the academic process. Citations can sometimes suffice, but not always.  Often the most damaging/helpful to present
the actual excerpt.  It’s the same for
film as for text. When you write an ebook, part of the reason it’s so important
to enable fair use is that it can continue to teach—quality has to be future-proofed
and can’t be what’s mediocre today.  It
would be as if in archival sound recording you’d have to do it by humming.
 
Charlesworth: digital preservation—platforms may disappear,
but that’s beyond our scope.
 
A: a few salient features of contemporary publishing—things
are different now than 10 years ago. Self-publishing is larger now than it has
ever been by orders of magnitude. Increasingly disintermediated and independent
publishing economy. When it comes to putting together works of this sort, that
rely on third-party copyrighted content, the idea of being able to engage in a
licensing discussion as an individual, it doesn’t work.  Overwhelming/threatens projects right from
the outset.
 
Q: how many of those self-published works were ebooks/regular
texts?
 
A: I wish I had the figures; the overwhelming majority that
are at least ebook though they may also be print on demand. The multimedia book
may be the canonical edition or only available digitally—they’re the ones
Authors Alliance members want to be preserved.
 
Q: how much has the exemption been used already? Has there
been some success in using it?
 
A: this rulemaking cycle: we want the exemption opened up to
authors who fall outside the relatively narrow band of film criticism/film
scholars.
 
Charlesworth: how?
 
A: fair use that relies on third-party copyrighted
multimedia content. 

Charlesworth: any author who wants to use a motion picture regardless of
purpose? It’s not limited to any particular author: “film analysis” is the
current limit.
 
Jack Lerner and Aaron Benmark, UCI Intellectual Property,
Arts, and Technology Clinic (representing Authors Alliance and Bobette Buster)
Lerner: Film analysis limitation has, we think, definitely
affected how many people can use this. Our understanding is that a number of
film scholars have been working on ebooks, and we have material on the record
on this. Not very useful now because they feel they need HD and can’t get it
under current limit.  There are many types
of non-analysis. Samuelson is using film clips to explore copyright law. If you
consider that film analysis, that’s fine. 
 
Charlesworth: examining films to comment or criticize them
might be helpful?
 
Lerner: sure, if you wanted to say that, though we think
fair use would be more appropriate. 
There are museums creating catalogs w/multimedia content. People are
analyzing things like gaming—Steve Anderson, USC. There are a number of uses
out there that aren’t clearly film analysis.
 
Charlesworth: tell me more about gaming in an ebook.
 
Lerner: you might have a scholar discussing what kinds of
messages games are sending.  How they
portray women. Montage of game clips to facilitate that discussion.
 
Charlesworth: are there specific examples of scholars who’ve
sought to do this?
 
Lerner: Steve Anderson’s extensive scholarship on
multimedia/gaming. Happy to follow up with that.
 
Charlesworth: with the film analysis, sounds like the
concern is that people fear it’s limited to Buster’s type of work as opposed to
Samuelson’s example where you want to examine cultural references or social
construction. You’re using the film as a focal point of discussion.
 
Lerner: yes. And if it said analysis that involved films as
focus, that would be clearer. Again, this goes to whether exemption should say
fair use in creation of multimedia, then we don’t have to worry about
interpreting what that means and we can rely on 30 years

Charlesworth: oh, and fair use is so clear. [/sarcasm]  We are tasked with creating targeted and
narrower exemptions [narrower than what?]. Saying something is fair
use doesn’t give a lot of guidance. We try to build in guideposts so people
understand what’s intended. [clearly all those caveats that we’ve been fighting
about for two weeks are working very well as guideposts] [/RT’s sarcasm] That’s
not to say you can never use a long chunk [which is exactly why the guidance if
any should be in the comments, not in the rule that governs criminal
liability], but we’re looking for adverse effects.
 
Lerner: At this point, for nonfiction authors, fair use is
not that difficult at all. Refuge from the Storm article by Michael Donaldson.
That’s why you have insurers who routinely and often blithely issue policies
that cover this.  This type of
scholarship is an easy case.
 
Q: nonfiction?
 
A: in the context of authorship, it’s fairly clear
generally; much clearer with nonfiction but also clear w/fiction. Zero problems
with saying multimedia authorship/fair use. 
No effect, as none of these exemptions have had.
 
Q: if it hasn’t been used, then there won’t be much
abuse.  [And if we ban cars very few
people will die in car accidents, and if we ban all copying then there will be
very little copyright infringement—oh wait, that last one isn’t true; we
tried!]  Incremental expansion? Maybe
nonfiction is more likely to be a fair use so we should try that instead of all
authors. Are there fiction authors in the record?
 
A: no.  But many
exemptions have been used extensively, including the documentarians’, and that
hasn’t led to even an allegation of abuse/harm. 
Quite a bit of evidence that people would do this if not barred.  Burden now shifts to opponent to provide
evidence of harm.  We don’t have to take
an incremental approach if there’s no evidence or allegation of harm.
 
Wolfe: (1) current state of using this exemption.  Clarification would be great, but in broader
sense there’s significant use of multimedia writing, largely in the more
informal sphere of blogging. Academic blogs now incredibly important [aw,
shucks] but that doesn’t have the sense of completeness or legacy-building as
writing a book does.  A tool that people
use on blogs, they’d use in books, if they have the opportunity to do so. §512
enables current embedded uses in blogging. 
Bringing that possibility to books would be a tremendous service to the
people already doing this.
 
(2) We talked about availability of multimedia ebook
services. 3 years is an eternity for these technologies. Kindle 2007, iPad
2010. The major players are working on further developing tech, but there are
also a shocking number of startups and small businesses interested in making
multimedia ebooks available to more authors.
 
Reid: We’re not being speculative about likelihood of tech
improvements. Apple’s App store has had a similar 2 gig size requirement, just
recently doubled to 4 gig.  Moore’s law
is at play here—some of the constraints are device size, broadband speed, and
we’re seeing monumental increases in those. Order of magnitude of increase in
flash memory on iPad from first version to now. 
Mother just jumped from 10 megabit broadband to 1 gig municipal fiber.
Those are factors driving current limits, which are likely to go away for
enough people to make this economically viable.
 
Dealing with Apple: some authors can talk to Apple, but many
more can’t. Not available to self-publishers w/out an agent.  Even for Buster, that’s very difficult. It’s
not fair to expect as a condition of the exemption to have to go through that
level of negotiation.
 
Lerner: We are aware that iBooks has HD titles. 
 
Reid: Example: Beginner Blues Guitar Solos with Audio &
Video, over 53 minutes of HD instruction. Where people film themselves in HD,
they can use the platform.
 
Buster: Yes, there are cookbooks in HD. Just not in my
field.
 
Lerner: AAUP is one of the proponents of this exemption,
47,000 university professors interested in doing this kind of thing.  This is a very large group of folks.
 
Charlesworth: record is murky whether or not Apple would
allow fair use.
 
McClurg: Who else is in this field; state of industry/tech;
need for high quality.  Our authors are
content creators and rightsholders themselves, who respect copyright. We’re the
good guys/content creators.  Authors have
a long track record of doing this responsibly.
 
Tech/rapid changes in market: new devices with new
capabilities just in this year. 
 
Charlesworth: do other platforms accept HD?
 
A: not sure what they accept, but transitions in market
envision HD content, especially when you look at the devices people are using.
There’s a clear trajectory towards increasing pixels, HD visibility.  That’s going to become the minimum.  What readers expect. I wouldn’t want my own
work to be represented in anything less than full quality.
 
Charlesworth: do you have a description of the James Bond
stuff?
 
A: well, that’s the problem—description and actually seeing
that, down to the scuffs on his watch.
 
Charlesworth: can you see that detail in SD?
 
A: Don’t know for sure, but you can see the problems in
Buster’s presentation.
 
Blu-Ray keys were decrypted many years ago. These authors
have a clear fear of the law and aren’t engaging in piracy.
 
Issues of scope—it’s our contention that drafting could
further chill the marketplace by cutting out paradigmatic fair use. The DMCA
seeks to protect underlying works but shouldn’t chill fair uses at the fringes.
 
Benmark: Screencapture! 
Authors can’t figure out whether screencap is circumvention. Many
authors work on Mac and screencap won’t work at all. Quality is a problem: not
HD. Without HD, doesn’t get past gatekeepers in the market.  The Matrix was presented in 766×344 pixels,
wrong aspect ratio even for SD. Simply doesn’t cut it. Authors don’t have tech
expertise to use the software without creating the problems screencap is
renowned for, such as dropped frames, interlacing, and doubled images. These
require an engineer to deal with and most authors lack access to tech
expertise.
 
Charlesworth: are there earlier Apple OS that allow
screencapture?  Why does Apple not allow
screencapture? Are there workarounds?
 
A: My understanding, and Jim Morrisette would be better able
to explain, but Apple has proprietary software that prevents bypass of TPMs.
 
Charlesworth: we’re told some software doesn’t involve
circumvention. [It depends on how you define circumvention!  Apple blocks screencap because it takes
pictures w/in the computer, even though it’s post “decryption” of the disc, b/c
that’s what rightsholders want it to do everywhere that isn’t in this
proceeding.]
 
A: the only program that represents its compliance w/DMCA is
WMCapture which is a Windows only program.
 
Finally, quality matters, whether that’s fair or not.  Dropped frames, artifacts, interlacing,
doubled images—your commentary and criticism will look amateur. 
 
Opponents: Bruce Turnbull, AACS LA: (1) as was evident, the
gatekeeping function that we heard about had to do with bandwidth and
gigabytes, not HD quality.  Evidence is
murky. [Which is why there are HD books in the iBooks store now …] Not a
justification for affecting Blu-Ray business. 
Blu-Ray keys revealed: Blu-Ray and AACS have different structure than
CSS/DVD. There are millions of keys for each individual device. Those keys can
be revoked when they have been revealed to be used in an unauthorized product
and we do revocations every month. We’ve been able to limit circumvention tools
to a very limited number.  We’re engaged
in a tech battle with some producers who’ve hidden their keys.  When we figure it out, we will revoke their
keys. But it’s a very limited number, all commercial products, there is one
that is free. Most are for pay.  Top ten
listed are for pay.  [I don’t get why
this matters.]
 
The discussion on the need for Blu-Ray content is murky.
They quote various articles saying Blu-Ray will take over, but those same
articles say that Blu-Ray didn’t hit as well and is struggling to survive under
VOD and downloads.
 
Charlesworth: need to see fine detail: can you comment on
that?
 
A: It’s difficult, b/c understand Buster’s expertise. But I
saw a bird, and a gold line and a gold frame. 
Not sure Blu-Ray was necessary. 
The record is not clear. [No, the image is not clear. There’s a
difference.] We’ll show demos where you can see the kinds of features said to
be important.
 
Harm to AACS has been recently found from distribution of
circumvention tools—Judge Broderick found irreparable harm, and these are the
tools that would be used if exemption granted. Same situation would occur as a
result of the grant of an exemption.
 
David Jonathan Taylor, DVDCAA: Exhibits 23, 24. “Bond, James
Bond”: compilation of video capture that we made from various James Bond
titles.  Used in preferred software
system, Adobe Indesign.  Made on an older
Apple system, back when Camtasia worked (on DVD).  A supercut of Bond introducing himself.  You could use that to discuss copyrightability
of Bond.  Next demo: use of Adobe to
insert these images.
 
Q: is your testimony these are DVD quality?
 
A: no, but they show the details that proponents wanted to
see.  [Here, the “details” were Bond’s
speech.]
 
Q: you’d have to sharpen the image and do more processing to
make it look better. We have some images that have been processed in that way
for later this afternoon.
 
A: what about frame size?
 
A: my understanding is that Apple’s DVI pixels aren’t the
same. It wouldn’t show you the pixels. 
It wouldn’t be the same.
 
Q: is it also a different aspect ratio?
 
A: I don’t think it changes between codecs.  You can set the aspect ratio. You can set the
pixel ratio. You can set the frame rate. 
We didn’t know what the proponents wanted each clip to be, so we’ve
tried to go back and give you examples of what they say they want.
 
Q: So you could get a SD framerate, but it won’t be the same
frames b/c they may be dropped or duplicate?
 
A: yes, that’s accurate.
 
Q: can you speak to limitations on Apple?
 
A: I just learned about this yesterday so I can’t explain
it. In the OS, if you upgrade to the latest, it will prevent most screencap
software from working as it has in the past. That is not a limitation in
itself, because I worked on a PC. We exchanged content so others working on
Macs could work on it. You can just borrow the PC of the person next to you.
 
J. Matthew Williams, Entertainment Software Association,
Motion Picture Association of America, Recording Industry Association of
America (Joint Creators and Copyright Owners): Clients don’t oppose renewal of
existing exemption for nonfiction ebooks for film analysis. We are exposed to
expanding the class—short portions, fictional authorship, criticism and
comment/film analysis, Blu-Ray, all AV works such as video games.  Short portion keeps this closer to what’s
likely to be fair use. Critical to these types of exemptions. We haven’t seen
examples of fictional authorship or when it would be necessary. Not saying it
would never be fair use but there’s no evidence in the record that should be
granted. Keep this proceeding focused on the record and specific adverse
impacts.  Fiction = less likely to be
fair use. Might be used just to gain audience’s attention, which should be
licensed. Nonfiction can be a difficult line to draw but we can use definitions
to find something that works.  [Ah, those
extremely clear “guideposts” as contrasted to fair use.]
 
Caselaw is almost exclusively about nonfiction. Rosemont v.
Random House: Howard Hughes bio.  Wright
v. Warner Books, also a biography. Norse v. Henry Holt likewise.  Bill Graham Archives was a nonfiction
book.  Penelope v. Brown, writing
instruction not fictional use. The only case they may use involves the play Jersey Boys, involving use of a video
clip. There’s nothing in the record that justifies expanding this to
Blu-Ray.  We show that almost all of the
items they claim are only available in Blu-Ray are actually available in other
formats. The exemption doesn’t prevent them from using HD quality, but it does
prevent them from using Blu-Ray discs, but there are numerous online outlets
for HD downloads. The availability of those makes Blu-Ray expansion even more
inappropriate.
 
Video games: no specific examples, only hypotheticals. [B/c
it’s easy to show adverse effects when you’d have to admit to breaking the law….]
Also the record doesn’t show how the circumvention is accomplished.

There’s no submission of the iTunes ToS, but gatekeeper issues aren’t our
problem.  Legislative history: manager’s
report says that adverse impacts that flow from other sources than TPMs
including mkt trends, other tech developments or changes in the role of
libraries, distributors, or other intermediaries, aren’t supposed to
count.  So are mere inconveniences.  It was clear that when the proponent can use
one device to achieve a goal and not another it’s grounds to deny an exemption.
 
On Pam Samuelson: I believe all the Bond films that come in
the collectors’ edition can be purchased in HD or HDX through Vudu.  Don’t need Blu-Ray.
 
Q: Do you object on film analysis?
 
A: every example in their comments is about film analysis,
except this one, but I think it arguably is film analysis b/c she’s going
through the actual films to critique the character through time.  Arguably film analysis; don’t know what you
intended that to to mean, but relatively comfortable w/that.
 
Q: it’s not critiquing the film, but teaching about
copyright law/illustrating a principle.
 
A: Sometimes you can do two things at once. She would be
commenting on the films and also on how the films would be treated under © law.
That’s different from saying “I want to show this to teach you something about
history,” which isn’t about how a film treats history specifically but is about
educating you. [How can those be distinguished? Pam’s comment on the films is “this
shows you how copyright works.”] Not enough examples in the record beyond film
analysis. Plus you don’t need details of Bond’s character to discuss his
copyrightability, and you can see them on HDX anyway.
 
Q: if Apple had a policy saying we wouldn’t accept SD, and
that was industry practice, are you saying we can’t take that into account?
 
A: legislative history suggests that by itself isn’t enough.
The access controls aren’t leading to the adverse impact, but a business
practice that is separate. [The access controls are a but for cause.]
 
Q: it’s a combination of the two causing the problem. Business
practice + TPM. If there wasn’t a TPM, the business practice wouldn’t hurt you,
no?
 
A: that’s fair.
 
Charlesworth: HD downloads—proponents’ reaction?
 
Lerner: it’s new to these hearings, and we’re glad to hear
they’re available on Vudu; a little surprised that they’re throwing Vudu to the
circumvention wolves but that’s their business. [Insert gif of Kermit sipping
tea]
 
Q: would that require circumvention?
 
A: If you pay for the copy, you can download it to your
device with TPMs that would need to be circumvented to make clips, allowed
under existing exemption. Not thrilled with that, but given that it already is
and we’re not opposing its renewal it’s a viable alternative.
 
Q: is there a difference b/t Blu Ray and HD?
 
Williams: my understanding is that HDX is marketed as 1080p,
very close to Blu-Ray. HD copies are generally not that high, but still crystal
clear when I watched them.  There might
be a difference in availability but I don’t know about it.
 
Turnbull: 1080p is full HD, and that’s what’s on Blu-Ray
itself.  Any given implementation might
be better or worse, and some Blu-Rays are better than others, but baseline
quality is 1080p.
 
Williams: information about Vudu is in the record.
 
Lerner: Delighted to look and see if they work for James
Bond. I do know offerings are much more limited relative to Blu-Ray so it’s not
a full solution. It’s also technically much more difficult to obtain streams,
as Mr. Morrissette testified.  That would
make it more difficult for our clients to use the exemption, which is another
reason we think Blu-Ray is useful. 
Turnbull says that bandwidth is the main barrier, but that’s not true.
Bandwidth is an issue, and that speaks to whether “short portions” is even
needed, but the key issue is that Apple’s quality control is very strict.
 
Charlesworth: subpoena Apple? Alas we can’t. But we heard
earlier that they don’t have a written policy and no evidence they reject for
lack of HD.
 
Lerner: we have fear and we think it’s a reasonable
fear.  (1) Very likely cause Apple to
reject many or all of the ebooks people submit, (2) Buster pointed out that SD
would be backwatered—instantly archival, jarring and disruptive to readers and
viewers. Everything sold now is HD+. To go back to SD on a device like that isn’t
just an adverse effect but a substantial one.
 
Charlesworth: agree that a lot of archival footage will look
jarring, and isn’t that inevitable?
 
Lerner: old movies were screened in 35mm, they’re actually
much higher definition.  Yes, PBS footage
from the 70s will be fuzzier, and audiences understand that, opposed to films
that weren’t fuzzy. Audiences and gatekeepers expect better when better is
available.

Reid: preserve for the record our strenuous objection to reliance on the
manager’s report to determine meaning of words in the statute for which there’s
been no sufficient identification of an ambiguity. The report came out after
the House passed the DMCA, and I’ve never heard of relying on post-enactment
legislative history. To the extent the Office is importing doctrines such as
inconvenience from the report, we strenuously object to going beyond the statute,
which requires “adverse effects.” We’ve established that you may need to hire a
lawyer, engineer, buy new computer to use screencap. Whereever adverse effects
lines are drawn, it’s surely before that process.
 
Charlesworth: we’ve invoked it in many occasions to
understand it b/c the statute is facially difficult to interpret.
 
Lerner: The text doesn’t say what Williams says it
says.  VHS is no longer available. If VHS
had TPMs on it, we couldn’t come here and say we need circumvention b/c distributors
aren’t making VHS any more.  VHS went
away for a reason unrelated to the TPMs. Here there’s a direct relationship b/t
TPMs and inability to get into the market.
 
Williams: I think the report speaks for itself. You’ve
relied on it in the past. It can provide guidance.  It’s a clear statement about these types of
issues. 
 
Reid: none of the language appears in §1201, which clearly
manifests Congress’s intent to include what’s in the statute and not include
what’s not in the statute.
 
Charlesworth: we rely on it for guidance.
 
Wolfe: very briefly: film analysis—Williams suggested it
covers most of the universe of uses, but film can play into scholarship in
important ways/paradigmatic fair use that doesn’t seem like film analysis:
clear trend in scholarly communications to focus on reproducibility of
experimental results by providing tools, data, etc. Psych literature is replete
w/studies based on or requiring film clips in their production. For online
production, including the clip on YouTube might be acceptable, but in books showing
what you used in the experiment, not as analysis but as a fact in what you did,
is essential.
 
Q: Buying a new computer—wouldn’t you also need to switch to
PC for Blu-Ray?
 
Turnbull: there are no licensed players for Mac.
 
Q: have you explored using HDX for your project?
 
Buster: I was working w/in what I thought were the legal
requirements.  It would be a hardship to
work with a Windows computer and work back and forth. 
 
Q: you might be able to use HDX under the existing
exemption.
 
Buster: once you pull the video from any computer you can exchange
it.
 
Taylor: you could switch between environments.  Other people I was working with used Macs and
I used a PC and we could work.
 
Lerner: I just bought an external Blu-Ray player for my Mac
that plays Blu-Rays. I wasn’t aware there were no licensed players.
 
Turnbull: there are no licensed players.  [Wow, that enforcement effort is working
super super well!]
 
Q: can you access this content in HDX downloading?
 
Lerner: yes, but the catalog is very limited. There’s a very
strong likelihood that it won’t cover all the HD content people want.

Buster: would need to figure out how easy it was to cut the clips to be fair
use.

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DMCA hearings: multimedia ebooks

Copyright Office: Jacqueline Charlesworth
Michelle Choe
Regan Smith
Cy Donnelly
Steve Ruhe
John Riley
Stacy Cheney (NTIA)
 
Proposed Class 5: Audiovisual works – derivative uses – multimedia e-books This proposed class would allow circumvention of access controls on lawfully made and acquired motion pictures used in connection with multimedia e-book authorship. This exemption has been requested for audiovisual material made available in all formats, including DVDs protected by CSS, Blu-ray discs protected by AACS, and TPM-protected online distribution services.
 
Proponents: Bobette Buster, Busterfilms: presentation of Exh. 22.  Do/Story: how to tell a compelling story, best-selling book. Wants enhanced ebook: lectures are 6 hours long—deconstruct a particular film, 16 clips for the first ebook of a total of 13 minutes.  Found an agency to embed this.  Different concerns: size (2 gigs now); iBooks Author dominates the market with self-creating books.  EULA requires quality control. They aren’t accepting SD, because why would they? Apple is in the business of creating extraordinary wonder, as the products get better each year. They want best possible environment.
 
Charlesworth: Apple doesn’t accept anything but HD?  Have you seen this policy in writing? Have they said that to you?
 
A: No. I’d have to commission $1000s of work to submit it.  They say you have to read what they say.  What they say is they’ll decide once we see your fully embedded document. 
 
Previously showed Schindler’s List, Godfather, Toy Story 2; now showing Shawshank Redemption w/a maggot being pulled out of breakfast, then fed to bird (universal symbol of freedom). Visual metaphor of abstract idea. You can’t see him letting the bird go in SD; you shouldn’t have to be knocked out of the emotional moment by asking “what is he doing in that black chunk of the screen?” It eventually becomes clear but too late for the immersion.
 
Charlesworth: can you show me in Blu-Ray?
 
A: no, I have a Mac.  The King’s Speech: a guy put against stripped wallpaper to show his humiliation and embarrassment: he’s been stripped raw.  Climax of film: he has to give a live speech.  You should experience the 3D a-ha experience of the gold line going straight through his skull—I have to do a lot of description to show what you should see.  Incredible sense of expansion.    The king is framed in gold in various settings, a metaphor for his majesty.  Final shot: framed in gold and white, which is crystal clear in HD, but in SD it’s all fuzzed out.  He’s offcenter because he’s been set aside by the king.
 
I was doing a major documentary about innovations in storytelling in sound design, quantum leap w/George Lucas, who says “art is technology.”  He had to invent the tech for Star Wars. All art is moved by pushing the limits/boundaries of tech in order to move the culture forward.  Created the industry we exist in now.  Major studios ask me to present my insights on storytelling; backwatered by SD b/c entire industry is now set up on technological wonder. We’re the 8-track of the industry.  This is how I inspire the creators of the content that drives Hollywood. Strange that I’m made archival, and it won’t sell b/c people have tech in their hands that makes it look decrepit.
 
Up-rezzing: a specious argument. People can see it on their retina displays. It’s just filler. Your audience wants to see what they saw in the theater or broadcast, which will no longer accept SD. I would like the right to use the best available tech.
 
Q: you mentioned 13 minutes of clips in total? Would these clips be in the ebook?
 
A: 16 clips, total 12:53 in ebook.  Yes, and the ones you saw 3 years ago.
 
Q: does Kindle have guidelines on image quality as well?
 
A: kindle is more unstable platform—not easy, downloadable, gig size issues. Teams I’ve talked to say only iBook author is stable. Not possible to make it available now.  There are possible apps, web streaming—but it’s hard to do with the current issues.
 
Q: are you aware of others rejected by Apple?
 
A: digital collective in Berkeley—when they saw the level of embedding, they weren’t willing to use their platform.  They suggested iBook Author.
 
Charlesworth: the platform couldn’t support SD?
 
A: the number of clips is a problem—the fear is it takes too long to download.
 
Charlesworth: wouldn’t HD be bigger?
 
A: iBook Author now allows 2 gigs. We’d have to see how it would be used up. I’d like to do a series and continue expanding this.
 
Charlesworth: tradeoff between level of definition and amount of content you can include in the ebook? Could you have more SD clips than HD clips if you’re limited by the amount? [She says Apple wouldn’t accept SD, so no.]
 
A: I would like to present the intended quality the audience expects, b/c I talk about all the elements, color, art direction, cinematography, costumes, etc.—they all have to be as filmmaker intended and studio released. I always suggest they see the full film.
 
Charlesworth: so you’d rather have fewer HD than more SD.
 
A: yes. There is a black and white ebook of students enacting film scenes from Blade Runner—that was the only way to describe how the cinematography works.  Totally inadequate experience.  There’s a lot of experimentation with best way to embed clips/engage audience. Engagement problem b/c audience expects high quality.
 
Q: are there examples of Apple accepting HD clips?
 
A: for iBooks Author, no, but in Al Gore’s app Our Choice, there are excellent clips created using a proprietary technology. You could do it with an app, but I haven’t seen anything that successfully takes clips from movies.
 
Q: so it may be impossible?
 
A: I can do it in iBooks Author platform [distribution seems to be the question]. Daunting to do it, and not up to my standards.
 
Charlesworth: will Apple distribute it? What if they don’t allow it?
 
A: EULA says I might be able to use another platform to distribute the book created on the platform, but their legalese suggests they can come after you.
 
Charlesworth: have you reached out to Apple? You’re high profile.
 
A: They are very formal.  Any contact: they say “read our specifications and we will decide.” Asked iPad designer: it’s a closed door policy, not open to individual questions. They decide.
 
Q: have you approached publishers?
 
A: I looked at other platforms, which were promising but had issues of fair use. Possibility of Vimeo Plus, private channel, but I deconstruct major films frame by frame.
 
Charlesworth: why would the fair use issues differ platform to platform?
 
A: They have nowhere near the marketability of iTunes, but how do I let the audience know about it?  I am building my profile, but the expense of doing it on my own in a different market universe is too much.
 
Lerner: exemption only permits short portions. So if she had to scrap the ebook idea and go to documentary on Vimeo, she wouldn’t be able to do as extensive a presentation as she’d like.
 
Charlesworth: that leads to whether the longer portions are fair use, which may less likely be fair use.
 
Lerner: Amount is a factor but she could discuss a huge portion of a film if she’s analyzing it clip by clip and presenting commentary on each clip—easily transformative. Given the extensive analysis that she does frame by frame even a large portion would be a slam dunk fair use.
 
Charlesworth: she’d still be using short clips, but a lot of them.
 
A: I can take a film like The Godfather and talk about it in sequence for 6 hours (a 2 hour film).  That’s why he’s saying it’s a slam dunk fair use. Maybe I would create a lecture that is sequences in order to comply.
 
Charlesworth: are you saying you’d put 6 hours of the Godfather on an ebook?
 
A: no, that’s not supported now. We’re talking about the Vimeo alternative. 500 people get my lectures each year, and I’m trying to democratize access.
 
Charlesworth: in an ebook, would you be using individual clips that you wouldn’t consider short?
 
A: I would use them as determined by the four fair use factors and the documentarians’ standards.  I may take 3 or 4 moments from a movie, 8 seconds up to 1:30 (minutes:seconds) and framing them together relating to an important teachable moment.  What I do when I’m teaching live is showing the setup and payoff.  Longest clip is 2:30.
 
Q: For your book, it sounds like using a publisher to get on iBooks is something you’re no longer pursuing?
 
A: publishers are not interested b/c it’s financially daunting to create the ebook w/no assurance that Apple would allow it. 
 
Q: so those concerns are based on fair use, not DMCA?
 
A: everybody would require me to prove fair use and I’d need E&O, but the issue then is the expense of creating the iBook and the possibility of it being rejected because of inferior tech.
 
Q: sound quality of high def?
 
A: SD is inferior to what the audience is used to now.  Films have been mixed with 5.1 or better. HD promises the right mix. SD is generically mixed with some levels too high and too low. Of course I talk about sound design, and interview the major sound designers, who all lament the insufficiencies of older tech; they’ve remastered older films to give them the best sound design possible. The Godfather was a groundbreaker—and I often end up saying “what you should hear is children laughing in the background—a critical emotional device/signals impending murder.”
 
Q: you can hear laughing in HD not SD?
 
A: yes.
 
Charlesworth: have you submitted that?
 
A: no, but I have it on my laptop. I don’t have before and after.
 
Blake Reid, Michael Wolfe, and Molly Priya McClurg, Samuelson-Glushko Technology Law & Policy Clinic at Colorado Law (representing Authors Alliance)
 
Wolfe: Authors Alliance—primarily academics, including Nobel Laureate and US Poet Laureate.  Most of our work is info/resources for authors—often means helping them take advantage of new opportunities from tech. Multimedia ebooks provide significant opportunity to advance knowledge.  Example: copyright education—copyright in characters, idea/expression. 
 
Charlesworth: James Bond?
 
A: yes, which would involve looking at film clips.  Need for specific examples.  Not a unique case—academics reference things to the best of their ability. Text is easy.
 
Charlesworth: project would be to analyze character as he appears in film?
 
A: would also incorporate Fleming’s novels, but yes.
 
Charlesworth: ultimate goal would be ebook?
 
A: yes. Academic endeavor is necessarily cumulative, deals w/what’s come before. Might be historical significance of film, or representation of history in a film, or a scholar in any field engaging w/documentary of relevance. Accuracy and integrity are of the utmost importance to the academic process. Citations can sometimes suffice, but not always.  Often the most damaging/helpful to present the actual excerpt.  It’s the same for film as for text. When you write an ebook, part of the reason it’s so important to enable fair use is that it can continue to teach—quality has to be future-proofed and can’t be what’s mediocre today.  It would be as if in archival sound recording you’d have to do it by humming.
 
Charlesworth: digital preservation—platforms may disappear, but that’s beyond our scope.
 
A: a few salient features of contemporary publishing—things are different now than 10 years ago. Self-publishing is larger now than it has ever been by orders of magnitude. Increasingly disintermediated and independent publishing economy. When it comes to putting together works of this sort, that rely on third-party copyrighted content, the idea of being able to engage in a licensing discussion as an individual, it doesn’t work.  Overwhelming/threatens projects right from the outset.
 
Q: how many of those self-published works were ebooks/regular texts?
 
A: I wish I had the figures; the overwhelming majority that are at least ebook though they may also be print on demand. The multimedia book may be the canonical edition or only available digitally—they’re the ones Authors Alliance members want to be preserved.
 
Q: how much has the exemption been used already? Has there been some success in using it?
 
A: this rulemaking cycle: we want the exemption opened up to authors who fall outside the relatively narrow band of film criticism/film scholars.
 
Charlesworth: how?
 
A: fair use that relies on third-party copyrighted multimedia content. 
Charlesworth: any author who wants to use a motion picture regardless of purpose? It’s not limited to any particular author: “film analysis” is the current limit.
 
Jack Lerner and Aaron Benmark, UCI Intellectual Property, Arts, and Technology Clinic (representing Authors Alliance and Bobette Buster)
Lerner: Film analysis limitation has, we think, definitely affected how many people can use this. Our understanding is that a number of film scholars have been working on ebooks, and we have material on the record on this. Not very useful now because they feel they need HD and can’t get it under current limit.  There are many types of non-analysis. Samuelson is using film clips to explore copyright law. If you consider that film analysis, that’s fine. 
 
Charlesworth: examining films to comment or criticize them might be helpful?
 
Lerner: sure, if you wanted to say that, though we think fair use would be more appropriate.  There are museums creating catalogs w/multimedia content. People are analyzing things like gaming—Steve Anderson, USC. There are a number of uses out there that aren’t clearly film analysis.
 
Charlesworth: tell me more about gaming in an ebook.
 
Lerner: you might have a scholar discussing what kinds of messages games are sending.  How they portray women. Montage of game clips to facilitate that discussion.
 
Charlesworth: are there specific examples of scholars who’ve sought to do this?
 
Lerner: Steve Anderson’s extensive scholarship on multimedia/gaming. Happy to follow up with that.
 
Charlesworth: with the film analysis, sounds like the concern is that people fear it’s limited to Buster’s type of work as opposed to Samuelson’s example where you want to examine cultural references or social construction. You’re using the film as a focal point of discussion.
 
Lerner: yes. And if it said analysis that involved films as focus, that would be clearer. Again, this goes to whether exemption should say fair use in creation of multimedia, then we don’t have to worry about interpreting what that means and we can rely on 30 years
Charlesworth: oh, and fair use is so clear. [/sarcasm]  We are tasked with creating targeted and narrower exemptions [narrower than what?]. Saying something is fair use doesn’t give a lot of guidance. We try to build in guideposts so people understand what’s intended. [clearly all those caveats that we’ve been fighting about for two weeks are working very well as guideposts] [/RT’s sarcasm] That’s not to say you can never use a long chunk [which is exactly why the guidance if any should be in the comments, not in the rule that governs criminal liability], but we’re looking for adverse effects.
 
Lerner: At this point, for nonfiction authors, fair use is not that difficult at all. Refuge from the Storm article by Michael Donaldson. That’s why you have insurers who routinely and often blithely issue policies that cover this.  This type of scholarship is an easy case.
 
Q: nonfiction?
 
A: in the context of authorship, it’s fairly clear generally; much clearer with nonfiction but also clear w/fiction. Zero problems with saying multimedia authorship/fair use.  No effect, as none of these exemptions have had.
 
Q: if it hasn’t been used, then there won’t be much abuse.  [And if we ban cars very few people will die in car accidents, and if we ban all copying then there will be very little copyright infringement—oh wait, that last one isn’t true; we tried!]  Incremental expansion? Maybe nonfiction is more likely to be a fair use so we should try that instead of all authors. Are there fiction authors in the record?
 
A: no.  But many exemptions have been used extensively, including the documentarians’, and that hasn’t led to even an allegation of abuse/harm.  Quite a bit of evidence that people would do this if not barred.  Burden now shifts to opponent to provide evidence of harm.  We don’t have to take an incremental approach if there’s no evidence or allegation of harm.
 
Wolfe: (1) current state of using this exemption.  Clarification would be great, but in broader sense there’s significant use of multimedia writing, largely in the more informal sphere of blogging. Academic blogs now incredibly important [aw, shucks] but that doesn’t have the sense of completeness or legacy-building as writing a book does.  A tool that people use on blogs, they’d use in books, if they have the opportunity to do so. §512 enables current embedded uses in blogging.  Bringing that possibility to books would be a tremendous service to the people already doing this.
 
(2) We talked about availability of multimedia ebook services. 3 years is an eternity for these technologies. Kindle 2007, iPad 2010. The major players are working on further developing tech, but there are also a shocking number of startups and small businesses interested in making multimedia ebooks available to more authors.
 
Reid: We’re not being speculative about likelihood of tech improvements. Apple’s App store has had a similar 2 gig size requirement, just recently doubled to 4 gig.  Moore’s law is at play here—some of the constraints are device size, broadband speed, and we’re seeing monumental increases in those. Order of magnitude of increase in flash memory on iPad from first version to now.  Mother just jumped from 10 megabit broadband to 1 gig municipal fiber. Those are factors driving current limits, which are likely to go away for enough people to make this economically viable.
 
Dealing with Apple: some authors can talk to Apple, but many more can’t. Not available to self-publishers w/out an agent.  Even for Buster, that’s very difficult. It’s not fair to expect as a condition of the exemption to have to go through that level of negotiation.
 
Lerner: We are aware that iBooks has HD titles. 
 
Reid: Example: Beginner Blues Guitar Solos with Audio & Video, over 53 minutes of HD instruction. Where people film themselves in HD, they can use the platform.
 
Buster: Yes, there are cookbooks in HD. Just not in my field.
 
Lerner: AAUP is one of the proponents of this exemption, 47,000 university professors interested in doing this kind of thing.  This is a very large group of folks.
 
Charlesworth: record is murky whether or not Apple would allow fair use.
 
McClurg: Who else is in this field; state of industry/tech; need for high quality.  Our authors are content creators and rightsholders themselves, who respect copyright. We’re the good guys/content creators.  Authors have a long track record of doing this responsibly.
 
Tech/rapid changes in market: new devices with new capabilities just in this year. 
 
Charlesworth: do other platforms accept HD?
 
A: not sure what they accept, but transitions in market envision HD content, especially when you look at the devices people are using. There’s a clear trajectory towards increasing pixels, HD visibility.  That’s going to become the minimum.  What readers expect. I wouldn’t want my own work to be represented in anything less than full quality.
 
Charlesworth: do you have a description of the James Bond stuff?
 
A: well, that’s the problem—description and actually seeing that, down to the scuffs on his watch.
 
Charlesworth: can you see that detail in SD?
 
A: Don’t know for sure, but you can see the problems in Buster’s presentation.
 
Blu-Ray keys were decrypted many years ago. These authors have a clear fear of the law and aren’t engaging in piracy.
 
Issues of scope—it’s our contention that drafting could further chill the marketplace by cutting out paradigmatic fair use. The DMCA seeks to protect underlying works but shouldn’t chill fair uses at the fringes.
 
Benmark: Screencapture!  Authors can’t figure out whether screencap is circumvention. Many authors work on Mac and screencap won’t work at all. Quality is a problem: not HD. Without HD, doesn’t get past gatekeepers in the market.  The Matrix was presented in 766×344 pixels, wrong aspect ratio even for SD. Simply doesn’t cut it. Authors don’t have tech expertise to use the software without creating the problems screencap is renowned for, such as dropped frames, interlacing, and doubled images. These require an engineer to deal with and most authors lack access to tech expertise.
 
Charlesworth: are there earlier Apple OS that allow screencapture?  Why does Apple not allow screencapture? Are there workarounds?
 
A: My understanding, and Jim Morrisette would be better able to explain, but Apple has proprietary software that prevents bypass of TPMs.
 
Charlesworth: we’re told some software doesn’t involve circumvention. [It depends on how you define circumvention!  Apple blocks screencap because it takes pictures w/in the computer, even though it’s post “decryption” of the disc, b/c that’s what rightsholders want it to do everywhere that isn’t in this proceeding.]
 
A: the only program that represents its compliance w/DMCA is WMCapture which is a Windows only program.
 
Finally, quality matters, whether that’s fair or not.  Dropped frames, artifacts, interlacing, doubled images—your commentary and criticism will look amateur. 
 
Opponents: Bruce Turnbull, AACS LA: (1) as was evident, the gatekeeping function that we heard about had to do with bandwidth and gigabytes, not HD quality.  Evidence is murky. [Which is why there are HD books in the iBooks store now …] Not a justification for affecting Blu-Ray business.  Blu-Ray keys revealed: Blu-Ray and AACS have different structure than CSS/DVD. There are millions of keys for each individual device. Those keys can be revoked when they have been revealed to be used in an unauthorized product and we do revocations every month. We’ve been able to limit circumvention tools to a very limited number.  We’re engaged in a tech battle with some producers who’ve hidden their keys.  When we figure it out, we will revoke their keys. But it’s a very limited number, all commercial products, there is one that is free. Most are for pay.  Top ten listed are for pay.  [I don’t get why this matters.]
 
The discussion on the need for Blu-Ray content is murky. They quote various articles saying Blu-Ray will take over, but those same articles say that Blu-Ray didn’t hit as well and is struggling to survive under VOD and downloads.
 
Charlesworth: need to see fine detail: can you comment on that?
 
A: It’s difficult, b/c understand Buster’s expertise. But I saw a bird, and a gold line and a gold frame.  Not sure Blu-Ray was necessary.  The record is not clear. [No, the image is not clear. There’s a difference.] We’ll show demos where you can see the kinds of features said to be important.
 
Harm to AACS has been recently found from distribution of circumvention tools—Judge Broderick found irreparable harm, and these are the tools that would be used if exemption granted. Same situation would occur as a result of the grant of an exemption.
 
David Jonathan Taylor, DVDCAA: Exhibits 23, 24. “Bond, James Bond”: compilation of video capture that we made from various James Bond titles.  Used in preferred software system, Adobe Indesign.  Made on an older Apple system, back when Camtasia worked (on DVD).  A supercut of Bond introducing himself.  You could use that to discuss copyrightability of Bond.  Next demo: use of Adobe to insert these images.
 
Q: is your testimony these are DVD quality?
 
A: no, but they show the details that proponents wanted to see.  [Here, the “details” were Bond’s speech.]
 
Q: you’d have to sharpen the image and do more processing to make it look better. We have some images that have been processed in that way for later this afternoon.
 
A: what about frame size?
 
A: my understanding is that Apple’s DVI pixels aren’t the same. It wouldn’t show you the pixels.  It wouldn’t be the same.
 
Q: is it also a different aspect ratio?
 
A: I don’t think it changes between codecs.  You can set the aspect ratio. You can set the pixel ratio. You can set the frame rate.  We didn’t know what the proponents wanted each clip to be, so we’ve tried to go back and give you examples of what they say they want.
 
Q: So you could get a SD framerate, but it won’t be the same frames b/c they may be dropped or duplicate?
 
A: yes, that’s accurate.
 
Q: can you speak to limitations on Apple?
 
A: I just learned about this yesterday so I can’t explain it. In the OS, if you upgrade to the latest, it will prevent most screencap software from working as it has in the past. That is not a limitation in itself, because I worked on a PC. We exchanged content so others working on Macs could work on it. You can just borrow the PC of the person next to you.
 
J. Matthew Williams, Entertainment Software Association, Motion Picture Association of America, Recording Industry Association of America (Joint Creators and Copyright Owners): Clients don’t oppose renewal of existing exemption for nonfiction ebooks for film analysis. We are exposed to expanding the class—short portions, fictional authorship, criticism and comment/film analysis, Blu-Ray, all AV works such as video games.  Short portion keeps this closer to what’s likely to be fair use. Critical to these types of exemptions. We haven’t seen examples of fictional authorship or when it would be necessary. Not saying it would never be fair use but there’s no evidence in the record that should be granted. Keep this proceeding focused on the record and specific adverse impacts.  Fiction = less likely to be fair use. Might be used just to gain audience’s attention, which should be licensed. Nonfiction can be a difficult line to draw but we can use definitions to find something that works.  [Ah, those extremely clear “guideposts” as contrasted to fair use.]
 
Caselaw is almost exclusively about nonfiction. Rosemont v. Random House: Howard Hughes bio.  Wright v. Warner Books, also a biography. Norse v. Henry Holt likewise.  Bill Graham Archives was a nonfiction book.  Penelope v. Brown, writing instruction not fictional use. The only case they may use involves the play Jersey Boys, involving use of a video clip. There’s nothing in the record that justifies expanding this to Blu-Ray.  We show that almost all of the items they claim are only available in Blu-Ray are actually available in other formats. The exemption doesn’t prevent them from using HD quality, but it does prevent them from using Blu-Ray discs, but there are numerous online outlets for HD downloads. The availability of those makes Blu-Ray expansion even more inappropriate.
 
Video games: no specific examples, only hypotheticals. [B/c it’s easy to show adverse effects when you’d have to admit to breaking the law….] Also the record doesn’t show how the circumvention is accomplished.
There’s no submission of the iTunes ToS, but gatekeeper issues aren’t our problem.  Legislative history: manager’s report says that adverse impacts that flow from other sources than TPMs including mkt trends, other tech developments or changes in the role of libraries, distributors, or other intermediaries, aren’t supposed to count.  So are mere inconveniences.  It was clear that when the proponent can use one device to achieve a goal and not another it’s grounds to deny an exemption.
 
On Pam Samuelson: I believe all the Bond films that come in the collectors’ edition can be purchased in HD or HDX through Vudu.  Don’t need Blu-Ray.
 
Q: Do you object on film analysis?
 
A: every example in their comments is about film analysis, except this one, but I think it arguably is film analysis b/c she’s going through the actual films to critique the character through time.  Arguably film analysis; don’t know what you intended that to to mean, but relatively comfortable w/that.
 
Q: it’s not critiquing the film, but teaching about copyright law/illustrating a principle.
 
A: Sometimes you can do two things at once. She would be commenting on the films and also on how the films would be treated under © law. That’s different from saying “I want to show this to teach you something about history,” which isn’t about how a film treats history specifically but is about educating you. [How can those be distinguished? Pam’s comment on the films is “this shows you how copyright works.”] Not enough examples in the record beyond film analysis. Plus you don’t need details of Bond’s character to discuss his copyrightability, and you can see them on HDX anyway.
 
Q: if Apple had a policy saying we wouldn’t accept SD, and that was industry practice, are you saying we can’t take that into account?
 
A: legislative history suggests that by itself isn’t enough. The access controls aren’t leading to the adverse impact, but a business practice that is separate. [The access controls are a but for cause.]
 
Q: it’s a combination of the two causing the problem. Business practice + TPM. If there wasn’t a TPM, the business practice wouldn’t hurt you, no?
 
A: that’s fair.
 
Charlesworth: HD downloads—proponents’ reaction?
 
Lerner: it’s new to these hearings, and we’re glad to hear they’re available on Vudu; a little surprised that they’re throwing Vudu to the circumvention wolves but that’s their business. [Insert gif of Kermit sipping tea]
 
Q: would that require circumvention?
 
A: If you pay for the copy, you can download it to your device with TPMs that would need to be circumvented to make clips, allowed under existing exemption. Not thrilled with that, but given that it already is and we’re not opposing its renewal it’s a viable alternative.
 
Q: is there a difference b/t Blu Ray and HD?
 
Williams: my understanding is that HDX is marketed as 1080p, very close to Blu-Ray. HD copies are generally not that high, but still crystal clear when I watched them.  There might be a difference in availability but I don’t know about it.
 
Turnbull: 1080p is full HD, and that’s what’s on Blu-Ray itself.  Any given implementation might be better or worse, and some Blu-Rays are better than others, but baseline quality is 1080p.
 
Williams: information about Vudu is in the record.
 
Lerner: Delighted to look and see if they work for James Bond. I do know offerings are much more limited relative to Blu-Ray so it’s not a full solution. It’s also technically much more difficult to obtain streams, as Mr. Morrissette testified.  That would make it more difficult for our clients to use the exemption, which is another reason we think Blu-Ray is useful.  Turnbull says that bandwidth is the main barrier, but that’s not true. Bandwidth is an issue, and that speaks to whether “short portions” is even needed, but the key issue is that Apple’s quality control is very strict.
 
Charlesworth: subpoena Apple? Alas we can’t. But we heard earlier that they don’t have a written policy and no evidence they reject for lack of HD.
 
Lerner: we have fear and we think it’s a reasonable fear.  (1) Very likely cause Apple to reject many or all of the ebooks people submit, (2) Buster pointed out that SD would be backwatered—instantly archival, jarring and disruptive to readers and viewers. Everything sold now is HD+. To go back to SD on a device like that isn’t just an adverse effect but a substantial one.
 
Charlesworth: agree that a lot of archival footage will look jarring, and isn’t that inevitable?
 
Lerner: old movies were screened in 35mm, they’re actually much higher definition.  Yes, PBS footage from the 70s will be fuzzier, and audiences understand that, opposed to films that weren’t fuzzy. Audiences and gatekeepers expect better when better is available.
Reid: preserve for the record our strenuous objection to reliance on the manager’s report to determine meaning of words in the statute for which there’s been no sufficient identification of an ambiguity. The report came out after the House passed the DMCA, and I’ve never heard of relying on post-enactment legislative history. To the extent the Office is importing doctrines such as inconvenience from the report, we strenuously object to going beyond the statute, which requires “adverse effects.” We’ve established that you may need to hire a lawyer, engineer, buy new computer to use screencap. Whereever adverse effects lines are drawn, it’s surely before that process.
 
Charlesworth: we’ve invoked it in many occasions to understand it b/c the statute is facially difficult to interpret.
 
Lerner: The text doesn’t say what Williams says it says.  VHS is no longer available. If VHS had TPMs on it, we couldn’t come here and say we need circumvention b/c distributors aren’t making VHS any more.  VHS went away for a reason unrelated to the TPMs. Here there’s a direct relationship b/t TPMs and inability to get into the market.
 
Williams: I think the report speaks for itself. You’ve relied on it in the past. It can provide guidance.  It’s a clear statement about these types of issues. 
 
Reid: none of the language appears in §1201, which clearly manifests Congress’s intent to include what’s in the statute and not include what’s not in the statute.
 
Charlesworth: we rely on it for guidance.
 
Wolfe: very briefly: film analysis—Williams suggested it covers most of the universe of uses, but film can play into scholarship in important ways/paradigmatic fair use that doesn’t seem like film analysis: clear trend in scholarly communications to focus on reproducibility of experimental results by providing tools, data, etc. Psych literature is replete w/studies based on or requiring film clips in their production. For online production, including the clip on YouTube might be acceptable, but in books showing what you used in the experiment, not as analysis but as a fact in what you did, is essential.
 
Q: Buying a new computer—wouldn’t you also need to switch to PC for Blu-Ray?
 
Turnbull: there are no licensed players for Mac.
 
Q: have you explored using HDX for your project?
 
Buster: I was working w/in what I thought were the legal requirements.  It would be a hardship to work with a Windows computer and work back and forth. 
 
Q: you might be able to use HDX under the existing exemption.
 
Buster: once you pull the video from any computer you can exchange it.
 
Taylor: you could switch between environments.  Other people I was working with used Macs and I used a PC and we could work.
 
Lerner: I just bought an external Blu-Ray player for my Mac that plays Blu-Rays. I wasn’t aware there were no licensed players.
 
Turnbull: there are no licensed players.  [Wow, that enforcement effort is working super super well!]
 
Q: can you access this content in HDX downloading?
 
Lerner: yes, but the catalog is very limited. There’s a very strong likelihood that it won’t cover all the HD content people want.
Buster: would need to figure out how easy it was to cut the clips to be fair use.
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New book chapter on young women and transformative works

Busy week, part N: I have a new chapter, Transformative Works: Young Women’s Voices
on Fandom and Fair Use
, with Betsy Rosenblatt in a book edited by Jane
Bailey and Valerie Steeves from U Ottawa Press, eGirls, eCitizens, available as a full
book online here
.

from Blogger http://ift.tt/1cl6Qdj

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