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Actor Johnny Depp admits modelling the character of pirate Captain Jack Sparrow in the Pirates of the Caribbean films on legendary rock star and Rolling Stones’ lead guitarist, Keith Richards. With his eyeliner, dreadlocks, and over-the-top comedy acting, Johnny Depp brought plenty of rock ‘n’ roll swagger and glamour to the hugely successful swashbuckler film series. In the films’ fictionalised historical setting, Captain Jack and his pirate crew are portrayed as loveable rogues – representing freedom from the ruling powers. But real-life pirates bear little resemblance to this image. Video pirates’ role involves threatening and stealing revenues from broadcasters and streaming service providers. And with billions of dollars at stake, it’s not surprising that video pirates want a piece of the action. While beIN’s battle against beoutQ brought piracy in the MENA region into sharp focus, it is still very much a global problem. Today’s video pirates are increasingly sophisticated players who are continuously upping their game to exploit vulnerabilities at every link of the distribution chain. Parks’ latest report on video piracy calculates that consumers will access more than $67bn of pirated video services worldwide by 2023. The Covid-19 pandemic has brought a surge in streaming as content-hungry consumers seek infinite entertainment at home; the closing of cinemas and theatres has seen a flood of new content on streaming services and some major film studios have opted to release films digitally. And where there’s valuable content, there are pirates, siphoning off billions in revenue that rightfully belongs to content owners and services providers. If only stamping out streaming piracy was as simple as spotting the skull and crossbones flag through a telescope! We take a look at the main ways in which piracy takes place today. Take 1: Stealing content There are two main ways for pirates to create their own copies of content from legitimate sources: DRM bypass – Video protected by DRM is encrypted. By compromising or bypassing the DRM system, pirates can distribute content on file sharing sites soon after release. They can distribute exact replicas of original content either as files for download or stream the video from pirate sites. Analogue/HDMI hole – This involves capturing the video from the output of a set-top box, PC, or other consumer device as it plays and re-encoding it to a file for onwards distribution. HDCP is used by HDMI connections to encrypt the output from STBs or PC but is easily bypassed. Less sophisticated methods include using a screen capture application on a PC or a video camera to capture content directly from a movie theatre or TV screen. Take 2: Stealing the service But many pirates have their sights set on much bigger treasure than individual pieces of content – they want to gain access to a streaming providers’ full service. By impersonating a legitimate user or device, or using fake apps that mimic the real app but cleverly circumvent the authentication and authorisation mechanisms, OTT pirates can trick the DRM system into decrypting and displaying content. The threats include credentials’ abuse, which takes several forms. For instance, casual account sharing, where passwords are shared between friends or family members; swapping or pooling, where users with different service subscriptions swap their credentials so they each have access to the other services while only paying for one; phishing and credential stuffing, where pirates obtain the credentials of legitimate users without their knowledge and sell them either on the dark web and endless trials, where hackers take advantage of the practice of allowing subscribers to sign up for a free trial and generate a new identity at the end of each trial. In 2019, there were over 4.5bn credentials and passwords for sale on the dark web for as little as $4 with log-ins for a mainstream streaming service costing as little as $2.50. There are other threats as well which include bypassing of concurrency controls. This is where systems that limit the number of concurrent devices, or viewing sessions a particular user is able access, can often be bypassed to allow many consumers to use a single account. Then there’s token theft, where once a user has logged on to a system, the application or web browser on the device uses tokens to identify the user to the CDN. These tokens can be copied to other devices and used to illegally access content. The other threat is key distribution attack. By working out the encryption key, a hacker can easily redistribute the key and allow others to access content directly from the CDN. Hackers sometimes have more sinister intentions than simply obtaining access to a video service. Once pirates break in, they leave the door wide open for others to commit cyber crimes. Streaming businesses are not only exposed to a loss of revenue but also have to pay for infrastructure costs to support non-paying users; liability for fraud expenses alongside expensive legal costs; loss of confidence from customers; and even a tarnished reputation. Take 3: Hosting a rival service Pirates make their service attractive to users by creating copycat services, complete with smooth user interfaces, apps, STBs, and even customer service departments to aggregate all the legitimate content they have stolen. Sometimes, the experience is so good that consumers don’t even know it’s illegal; in other cases, consumers choose the pirated service because they have access to a wide range of content in a single place. This is particularly true for live sports, with millions of people using competing pirate services to access live streaming services. And action: Outwitting the pirates Fighting piracy requires a multi-layered approach to security and solutions that go beyond content protection to demotivate pirates at every point along the video distribution chain. This requires using a robust CA or DRM system to ensure end to end content and key protection; hardening client devices against tampering and manipulation, and using watermarking and other technologies to detect and disrupt leaks; educating subscribers to use different credentials across multiple services; securing data centres to reduce the risk that the next data breach comes from the service providers’ network; using operational security services that combine AI technologies with human intelligence (including undercover investigators and cyber security, psychology, criminology, and sociology experts) to monitor and map the piracy supply chain and orchestrate anti-piracy activities and legal and technical takedowns; and lastly, working together to fight back. Everyone, including CDN and cloud service providers, ISPs, payment providers, chip manufacturers, anti-piracy tool vendors, integrators, rights owners, streaming providers and legislators must cooperate to combat and outwit pirate plunderers. Just as celebrity rock stars and actors attract hordes of fans, content is much too valuable booty for pirates to ignore – and they will not give up without a fight. But by keeping a close watch on the techniques of established pirate players and looking out for new pirate actors and methods emerging in the video landscape, we can keep the OTT ship sailing in trouble-free waters.

The English Premier League launched an anti-piracy initiative in Hong Kong on Sunday in an effort to convince viewers to stop illegally streaming matches ahead of the new campaign. The league’s inaugural “Boot Out Piracy” campaign, which aims to shed light on the substandard viewer experience and the potential threats of malware and ransomware, was launchedsix days ahead of the start of the 2020-21 season. Local broadcaster Now TV holds the official television and digital broadcasting rights for the coming season. According to a survey of 1,000 people in Hong Kong, run by London-based research consultancy Populus, 71 per cent of respondents trying to watch football “via illicit means had experienced disruption or unreliability most if not all of the time”, the Premier League said in an official release. The survey, in December 2019, revealed that 26 per cent of those who had previously watched pirated channels said they stopped doing so after their device became infected by a virus or malware. Now TV’s English Premier League channel commentators at a press conference announcing broadcasting arrangement for the 2018-19 season. Photo: Handout Players such as Tottenham Hotspur’s Son Heung-min, Liverpool’s Mohamed Salah and Manchester City’s Raheem Sterling – along with managers such as Manchester United’s Ole Gunnar Solskjaer, Manchester City’s Pep Guardiola and Chelsea’s Frank Lampard – will feature in a forthcoming anti-piracy campaign, also launched in Malaysia and Indonesia, before the league starts. They will focus on the problems that come with illegally streaming matches, which include delays, broken links, pop-up advertisements and other threats that “often lead to data theft and fraud”. Two online Chinese-language poster campaigns included slogans such as “No need to buffer, no need for huge delays, English Premier League must be watched in high-definition”, and “No need for broken links, no need for illegal links, English Premier League must be watched in high-definition”. The English Premier League launches a campaign to deter illegal streaming of league football matches ahead of the 2020-21 season. Photo: Handout The Premier League opened an Asia-Pacific office in Singapore in 2018 primarily to fight piracy and support broadcast partners in the region. “Football fans in Hong Kong are among the world’s most passionate,” said the Premier League’s director of legal services, Kevin Plumb. “We want them to watch Premier League action safely and enjoy the best viewing experience via our official broadcast partner channels. Premier League launches campaign to deter illegal streaming of league football matches ahead of the 2020-21 season. Photo: Handout “We want Premier League fans to watch our matches in the best possible way, not ruined by time lags, glitches or viruses and malicious malware. There is a hidden cost to watching football through pirate services and this campaign reminds fans it is not worth compromising broadcast quality or the risk of becoming a victim of data theft or fraud,” Plumb added. Now TV offers English Premier League coverage in Hong Kong as part of it HK$278 per month “Soccer Fever” package. “Now TV attaches great importance to the protection of intellectual property rights and respects originality and creativity,” said Derek Choi, head of pay TV at PCCW Media Group. “Being Hong Kong’s home of sports, Now TV strives to deliver the best viewing experience to our customers, with minimal time lags and delays.” The Manchester United Class of ’92 practice keep-ups at a Now TV event in 2017. Photo: Handout The Premier League said it had already taken action against illegal apps and websites in Singapore, Indonesia and Malaysia, and was working with law enforcement authorities to bring criminal action against suppliers of illicit streaming devices and website operators across the region, including in Thailand, Singapore and Vietnam. In 2018, Hong Kong customs arrested two men for illegally live-streaming Fifa World Cup matches from Now TV paid channels through online broadcasting platforms – the first case of its kind. Anti-piracy operations were increased following reports from then-official World Cup broadcast provider Now TV.

arlier this month, news broke that a massive law enforcement operation targeting scene release group "SPARKS" and its affiliates resulted in at least 29 websites being taken down across 18 countries. The move is a cooperation between the US Department of Justice and European authorities like Eurojust and Europol, and it looks like the damage may extend well beyond the original target. According to a report from Torrentfreak, the raids wrecked the entire Scene and caused a sharp drop in new releases from other pirate groups. For instance, the data on Predb.org shows that on August 19 there were 1944 new releases across all categories of content, a number that dropped to just 168 a week after the raids. By the end of August, categories like TV and anime showed little action in the way of new releases, as did games and ebooks, which dropped to zero right after the raids and are still relatively anaemic to this day. An outlier is the music category, which also suffered a drop in August but that somehow managed to surge to a two-week record of over 800 releases just days after the raids. It's hard to predict if the effects of the bust will be long-lasting, but there are voices in the piracy community that claim it's only a matter of time before new Scene groups emerge to continue the work of SPARKS. What is certain is that the three men arrested in August have been charged with copyright infringement conspiracy, wire fraud, and conspiracy to transport stolen property interstate, meaning they face long prison sentences. In the meantime, pirates are getting creative with their methods, and the infamous The Pirate Bay is still up and running, not to mention expanding its feature set. The latest ITIF report on the state of DMCA shows that online piracy has merely shifted from peer-to-peer downloads to peer-to-peer streaming, with no signs of reduction. The U.S. Chamber of Commerce estimates that in 2019 digital piracy caused $29.2 billion in lost revenue and killed anywhere between 230,000 and 560,000 American jobs. No less than 80 percent of online piracy relates to content found on TV, video-on-demand, and streaming services. And while some people will always pirate content as long as it's possible, subscription fatigue could very well be one of the reasons why consumers still go through the trouble of pirating. The entertainment market seems flooded with content silos from several major broadcasters, which is why aggregators like ScreenHits TV can't launch soon enough.

The English Premier League has launched its first anti-piracy campaign in Malaysia, Hong Kong and Indonesia. The ‘Boot Out Piracy’ campaign will run across digital platforms and will featuring an array of the EPL’s top stars, including Tottenham Hotspur’s Son Heung-min, Liverpool’s Mohamed Salah, and Manchester City’s Raheem Sterling. The advertising drive aims to raise consciousness of the compromised viewing quality and the risks fans will face if they watch matches using illegal streams. EPL managers Ole Gunnar Solskjaer, Pep Guardiola and Frank Lampard are also set to feature in the initiative that will launch in Malaysia, Indonesia and Hong Kong ahead of the start of the 2020-21 season. The campaign comes 18 months after the EPL opened its first Asia-Pacific office in Singapore, established primarily to tackle piracy and support broadcast partners in the region. Premier League director of legal services Kevin Plumb said: “We want Premier League fans to watch our matches in the best possible way, not ruined by time-lags, glitches or viruses and malicious malware… There is a hidden cost to watching football through pirate services and this campaign reminds fans it is not worth compromising broadcast quality or the risk of becoming a victim of data theft or fraud. The EPL has already engaged in wide-ranging anti-piracy efforts in Asia which include blocking action against illegal apps and websites in Singapore and Indonesia and blocking illegal websites in Malaysia. It has also been working with law enforcement authorities to bring criminal action against suppliers of illicit streaming devices and website operators across the region, including in Thailand, Singapore and Vietnam. Head of sports at Malaysian broadcaster Astro Lee Choong Khay, said: “Together with the Premier League, Astro is committed to working with the authorities to protect the value of intellectual property by fighting piracy. As the official and exclusive broadcaster in Malaysia, Astro is committed to serving sports fans with the best and a hassle-free viewing The EPL say by using illegal streams supporters expose themselves to the threat of malicious malware and ransomware, which could lead to data theft and fraud.

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Keith Kupferschmid, CEO of pro-copyright lobbying body Copyright Alliance, has called on the US Congress to lead the way on tackling commercial streaming piracy. Writing an Opinion piece in political website The Hill, Kupferschmid notes that nowadays, three-quarters of American households subscribe to one of the major video streaming services, but when technologies grow this fast, they often move faster than policymakers, regulators, and especially law enforcement can keep up. “From bitcoin fraudsters to cyberstalkers, bad actors don’t hesitate to use new technologies in harmful ways, especially when gaps in criminal law shield them from meaningful penalties or risk,“ he suggests . “That is what is happening with modern, industrial-scale streaming piracy today.” “Streaming piracy is big business in the US and around the world,” he declares, noting the high cost of digital video piracy to the US economy. “These high-tech services scrape legitimate streams off the Internet or buy unlicensed programming on the dark web and package them into slick, high-tech services imitating market leaders like, Xfinity, Amazon Prime Video, Hulu, or Netflix,” he reports. “For cut-rate prices, they offer virtually every kind of streaming programming: new release movies, peak TV original series, live and pay-per-view sports, and local broadcast television. All unlicensed and all diverting revenue and subscribers from legitimate services American consumers depend upon. And because they pay nothing to the creators who invested billions in producing the films and shows they sell, it’s an incredibly lucrative business. Profit margins are staggering, ranging from 56 per cent to 85 per cent,” he advises. “The costs to consumers can also be severe,” he warns. “While these pirate services look legitimate, they can serve as gateways for viruses, malwares, and fraud — putting consumers’ computers at risk and compromising their credit cards and identities online.” “Like all other forms of piracy, these large-scale operations violate US copyright laws and should not be allowed to remain online. But because the law has not moved as fast as this technology, in the real world, streaming piracy is virtually immune from meaningful prosecution,” he states. “Virtually every significant form of wilful, commercial piracy can be prosecuted as a felony under appropriate circumstances — including copying CDs, illegal file sharing, and even ‘camripping’ movies in the theatre,” he notes. “But unlike all of these, streaming piracy — no matter how widespread or organised, and regardless of the amount of damage done —can only be prosecuted as a misdemeanour simply because when the laws were drafted, streaming video wasn’t an option. With penalties so limited, no prosecutor will bother to bring these cases and the streaming piracy rings carry on — secure in the notion that law enforcement won’t intervene,” he says. “Fortunately, Congress is working hard to solve this problem — convening negotiations and developing a simple two-page proposal that would close this ‘streaming loophole’ and ensure that in appropriate large-scale commercial cases, felony penalties are available to federal prosecutors,” he advises. “This highly-transparent and rigorous process which, included participation from groups and organisations of all perspectives — including the creative community and victims of streaming piracy as well as those representing Internet users, technology companies, Internet service providers and civil society— has been lauded across Capitol Hill as a model way to vet and develop new proposals,” he adds. According to Kupferschmid ,the resulting proposal is a consensus product with broad-based support. “It is narrowly tailored to address the serious problem of commercial streaming piracy ensuring ordinary internet users, legitimate businesses, and non-commercial actors have nothing to fear from this proposal. In fact, the most significant obstacle to this vital reform legislation is the calendar. As is common in election cycles, this legislative year was short and further time was lost as Congress adapted operations to the pandemic,” he notes. “Of course, policymakers have rightly been focused on urgent national issues starting with continued relief and aid to address the COVID-19 pandemic and resulting economic crisis. In the remaining time this year, after dealing with those life and death matters, there should be room to act on non-controversial, bipartisan measures like this one to protect consumers and strengthen our nation’s infrastructure and economy. It’s time for Congress to close the streaming loophole,” he concludes.

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As of yesterday, new additions were made to Kunal Kemmu’s web series Abhay 2. This series features on the streaming platform, Zee 5. However, one can watch the 'Abhay 2' new episodes on the piracy website, Filmyzilla. This piracy website, allows you to do the Abhay 2 web series download for free. About Filmyzilla: Filmyzilla is one of the largest public torrent websites in India. The illegal website allows one to do movie and web series download for free. Filmyzilla has a huge collection of Bollywood as well as Hollywood movies. Some of the films that are available on the torrent website include The Lion King, John Wick 3, Dabangg 3 and several others. However, it is important to note that the torrent website that has been banned by the Government of India. About Abhay 2: Kunal Kemmu starrer, Abhay 2 features the life of an investigative officer. In addition to Kemmu, the show also stars actors Ram Kapoor and Chunky Pandey. Kunal plays the role of the protagonist in the crime thriller web series. On the other hand, Ram and Chunky play the role of the antagonists. While the show has been directed by Ken Ghosh, it has been produced by B.P. Singh. You can check out the Abhay 2 trailer here: Here’s a list of 'Abhay 2' episodes: Episode. Number. 1- Brain Soup Episode. Number. 2- One-Legged Skeleton Episode. Number. 3- The Game Begins Episode. Number. 4- The 12-Hour Challenge Episode. Number. 5- Misplaced Retribution

Bollywood actor, Abhay Deol’s web series JL50 released on the streaming platform Sony Liv yesterday. This series also stars actor Pankaj Kapur in the lead role. In order to view the JL50 web series, you need to subscribe to the Sony Liv app. However, the piracy website worldfree4u has recently leaked the JL50 Web series download. This piracy website, allows you to do the web series download for free. More about worldfree4u: worldfree4u is a global piracy website. This website has a huge collection of Hollywood as well as Bollywood movies that can be downloaded free of cost. Some of the films that are available on the Torrent website include Dabangg 3, Chapaak, Pati Patni Aur Woh, Avengers: Endgame, Men in Black International and several others. Further, the website has also leaked the content of streaming giants like Netflix and Amazon Prime Video. However, it is important to note that worldfree4u is an illegal website that has been banned by the Government of India. Here is a list of some other websites that leak pirated content: Ssrmovies Filmy4wap Mp4moviez Moviespur Movie Counter Bollyshare Madras Rockers 7starhd Gomovies Pagalworld Moviesda Bolly4u Filmywap 9xmovies 123movies Khatrimaza About JL50: The JL50 web series consists of 4 episodes. The plot of the show revolves around an aeroplane that went missing in Kolkata, 35 years back. The makers showcase the aeroplane in the present scenario and also state that it has been crashed. JL50 also stars actors Rajesh Sharma, Piyush Mishra, Ritika Anand, Amrita Chattopadhyay and Rohit Basfoday. While the web series is directed by Shailender Vyas, it is co-produced by Ritika Anand, Abhayanand Singh, Piiyush Singh, Bob Gaider, Yasmin Gaider, as well as Shailender Vyas.

Synamedia, the world's largest independent video software provider, today launched a new intelligence-first security model laser-focused on eradicating streaming pirates' businesses and protecting legitimate providers' revenues. In an industry first, this data-led model also makes it possible to measure the efficacy and ROI of anti-piracy initiatives. The new approach combines digital and human intelligence to zero in on the increasingly sophisticated streaming piracy underworld that is threatening the media industry. It provides unparalleled forensic insights into the minds, motivations and behaviors of pirates, and their infrastructure and business models, for a more powerful, targeted anti-piracy response. It is already fueling technology innovations across Synamedia's security portfolio, helping customers protect revenues, negotiate fair content license terms such as sports rights, and ensure compliance. Several new product enhancements that are already benefiting from this methodology are: A redesigned counter-piracy operations center - Synamedia EverGuard – the beating heart of Synamedia's intelligence and analysis platform and Streaming Piracy Disruption (SPD) managed service. Incorporating big data analytics, Synamedia EverGuard creates a list of recommended actions against a set of devices, user accounts and pirate streaming sites. It supports multiple ways of disrupting services and analyzes the effectiveness of each disruption mechanism for better future outcomes. The choice of action and time of enforcement is designed to cause maximum impact to pirates and nudge viewers back to legitimate services. A rich new UI for the SPD service, allowing operational security personnel to fine-tune the counter-piracy operations center recommendations if required to meet specific business needs. A new generation of intelligence agents including new client- and/or headend-based watermarking agents that are resistant to pirates' evasion techniques, and a new analytics agent. A new raft of disruption agents for a broader choice of responses, including new quarantining agents in the CDN and the control plane, as well as device revocation agents for turning off and de-registering devices proven to have been used by pirates. CSFEye, a credentials sharing and fraud solution that is an extension to the Credentials Sharing Insight service. CSFEye specifically targets fraudsters engaged in stealing or abusing accounts for commercial purposes, who compromise the privacy and identity of legitimate subscribers and pose a legal and commercial risk to service providers. CSFEye now includes the ability to identify all shadow users (both sharers and fraudsters), recommend and execute a range of actions in order to mitigate the risk, and convert them into paying customers. "Video piracy is becoming an existential threat to the media industry because the barrier to entry is low and the return on investment very high. Eradicating these businesses is made more difficult by the fact that they have sophisticated operations, are well organized, and make extensive use of the latest technologies," said Yael Fainaro, Senior Vice President, Security at Synamedia. Fainaro continued, "With a blend of human and digital intelligence we can build a detailed picture of the pirate ecosystem, crack the criminal mind-set and - working closely with law enforcement agencies – ultimately shut down pirates' businesses. This hard data is an industry gamechanger, making it possible to move away from a best-effort cost model to one that proves the efficacy and ROI of any anti-piracy spend." Synamedia has 30+ years' experience in video security solutions, and developed the longest unhacked solution on the market. Since its inception, Synamedia's operational security team has brought many criminals to the attention of law enforcement officials. Synamedia protects approximately $70 billion in operator revenues every year.

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Thanks to programmatic ad tech, piracy sites are thriving and making more ad revenue than ever before. In 2013, this study from Digital Citizens Alliance documented that “Piracy Websites Roped In $227 Million in Ad Revenues.” That was right before programmatic ad exchanges took off in earnest; and digital ad spending in the U.S. was only $43 billion. Since that time, digital ad spend has tripled to $125 billion in 2020 and piracy sites are more easily able to scale their revenue operations. Programmatic ad tech automated the buying and selling of digital ads across vast numbers of sites; it also enabled a larger variety of advertisers to buy and place ads. This means piracy sites are now able to sell even more ad impressions to more unsuspecting advertisers. Online Piracy is Bigger and More Profitable Today Fast forward to today, a followup report from the Digital Citizens Alliance details the additional revenues that pirates derive from selling IPTV subscriptions and hardware (access devices). “An estimated 9 million fixed broadband subscribers in the U.S. find and pay for pirate IPTV subscriptions through 3,500 U.S.-facing storefront websites, social media pages, and stores within online marketplaces.” It’s “a $1 billion industry in U.S. piracy subscriptions alone. The overall piracy industry is in fact much larger when the sale of pirate streaming devices and ad-financed piracy are included.” Piracy is very profitable, “because the providers of these services pay nothing for the programming... they operate with estimated profit margins that range from 56 percent ("Retailers") to 85 percent ("Wholesalers").” Despite Industry Efforts to Dampen Piracy Sites’ Money-Making Even though the biggest brands have added many piracy sites to their block lists and the largest ad networks, like Google, have taken more steps to prevent piracy sites from using its tech platform to monetize, dozens of other ad exchanges have happily stepped in to help these sites make money. They provide alternative conduits for piracy, porn, disinformation, and other sites to tap into the enormous ad budgets available through programmatic advertising. When billions upon billions of ads are mixed together for thousands of advertisers to buy, it is easy to see how more piracy sites can now sell to more advertisers, and continue their merry-making, oops, money-making. The data below, provided by White Bullet, shows exactly this. The top “Ad Intermediaries” table on the left shows 19 other “intermediaries” that are bigger than DoubleClick (Google) in helping piracy sites make money. The “Top Domains” table on the right shows some of the largest piracy domains and the ad impression volumes they can generate every month (hundreds of millions to over a billion). Using $5 - $10 CPMs (paid by advertisers) for ease of calculation, these large volumes easily represent $10 - $20 million in digital ad spending where the ads ended up on piracy sites. And these are just the numbers from the top 20 rows of intermediaries and domains that were monitored. Undoubtedly there are many more that have not been catalogued yet. Ad dollars thus add at least another billion dollars to the annual “take” of these piracy sites. Note that the piracy sites may only receive a fraction of the $5 - $10 CPMs mentioned above. This is because a large portion may go to the ad tech players in the supply chain. Just like for mainstream sites where three industry-wide studies showed that only 50 cents of every dollar goes to the publisher/site for showing the ad, a similar phenomenon undoubtedly applies here too. On top of that, the middlemen may actually charge more for helping the launder the impressions so they can be sold to unsuspecting big brand advertisers. How Do Piracy Sites Monetize? Sponsored Content Boxes More detailed data from White Bullet reveals how these piracy sites monetize. By far the largest volume of ads (48%) flow through “sponsored content boxes” more commonly known as “content discovery widgets” or “native advertising platforms.” Companies like Taboola and Outbrain both announced partnerships to run programmatic ads in 2017 [1], [2]. This means that ad inventory that enters the programmatic ad ecosystem through these pipes could easily be purchased by advertisers through their favorite DSP or ad exchanges. When thousands of advertisers buy billions of ad impressions, it’s easy to miss the ads that ended up on piracy sites. That also assumes those piracy sites didn’t proactively “cover their tracks” and obfuscate their domains or pretend to be someone else’s domains (“domain spoofing”). When was the last time you saw piracy sites in your placement reports? Probably rarely or never; that’s because the ads that ran on piracy sites are conveniently commingled with ads that ran on nytimes, usatoday, and other mainstream sites, so you won’t see them. WHITE BULLET Harm to Advertisers Big and Small The harm to major advertising brands goes without say. But now that small and medium brands can also buy ads programmatically, their dollars are also flowing to piracy sites. Peter Szyszko, CEO and cofounder of White Bullet, adds, “Industry estimates suggest IP theft will result in $4 trillion in losses by 2022. Piracy continues to grow; and digital ads fund some 85% of online pirate streaming activity.” Content theft and ad fraud is particularly harmful to entertainment brands. They suffer the “double whammy” of 1) their content being stolen and 2) it being used to steal their digital ad budgets too. Major brands like Amazon, Apple, Airbnb, Paypal, Dell, Coca-Cola, Salesforce, AARP, NBA, L.L.Bean and hundreds of others are still unknowingly supporting piracy. Their ad dollars enable these sites to thrive, even if the dollars are just a tiny sliver of their digital ad budgets. “If they don’t filter out the dangerous and criminal publishers then they are putting their own brands at risk of reputational damage and are funding criminals,” said Peter Szyszko. AUGUSTINE FOU Harm to Consumers is Real “Piracy is not a victimless crime,” so goes the saying. In digital, the actual harm to consumers is well documented and it comes in the form of malvertising - ads laced with malicious code designed to compromise humans’ devices. Once installed on the victims’ devices, the malware can not only steal their private information, it can also do other bad things — e.g. load enormous quantities of ads behind the scenes; use the device to mine cryptocurrency; make the device a part of a large botnet to carry out other attacks. Data from Confiant (chart below), a cybersecurity company focused on detecting threats in digital ads (malvertising), shows the rate of malvertising on mainstream sites range from 0.01% to 0.47%, with an average of 0.09%. When we focus on piracy sites in particular, the data shows that consumers are at 140X higher risk of malware and other malicious code (14% vs 0.1%) — the “fraud and malware” category in the donut chart from White Bullet. Threat actors know that humans go to piracy sites; so they go there as well, specifically to target and exploit them. The humans may also be too embarrassed to report that they’ve been compromised after visiting piracy (or porn) sites. CONFIANT Marketers should realize that piracy sites are not only surviving but thriving due to programmatic ad tech. Marketers should dig deeper beyond just placement reports that just show domains and quantities of impressions purchased. They should use additional technology and services to detect exactly where their ads ended up and aggressively block the piracy, porn, hate speech, disinformation, and fake news sites that appear. Otherwise their digital budgets continue to fund these types of sites.

KOLKATA: Synamedia has launched a new intelligence-rst security model laser-focused on eradicating streaming pirates’ businesses and protecting legitimate providers’ revenues. This data-led model helps to measure the efcacy and ROI of anti-piracy initiatives. The video software provider has also launched Synamedia VN Cloud, a managed service for its entire video network portfolio. The new approach combines digital and human intelligence to zero in on the increasingly sophisticated streaming piracy underworld that is threatening the media industry. It provides unparalleled forensic insights into the minds, motivations and behaviors of pirates, and their infrastructure and business models, for a more powerful, targeted anti-piracy response. It is already fueling technology innovations across Synamedia’s security portfolio, helping customers protect revenues, negotiate fair content license terms such as sports rights, and ensure compliance. “Video piracy is becoming an existential threat to the media industry because the barrier to entry is low and the return on investment very high. Eradicating these businesses is made more difcult by the fact that they have sophisticated operations, are well organized, and make extensive use of the latest technologies,” Synamedia security SVP Yael Fainaro said . (/) Foster Insights with Data Visit Site Ad Altair VN Cloud will to offer end-to-end video network functionality on any public, private or hybrid cloud, and breaks new ground by delivering the high availability customers demand on a single platform for both broadcast and OTT. VN Cloud gives operations teams the insight, agility and exibility to effortlessly deploy and manage multiple workows and deliver outstanding quality of experience on any device, anywhere, with seamless failover, while controlling costs. It lowers the barriers to launching new services by allowingservice providers, content owners and broadcasters to quickly test new services anywhere in the world, with support for lab-in-the-cloud, pop-up and disaster recovery events. Customers can deploy an OTT service in the cloud using a pay-as-you-use cloud model then, once established, move it on-premise. The Workow Portal’s dashboards provide transparency about costs for hybrid, on-premise and public cloud, allowing users to easily move workloads to balance OPEX and CAPEX, as well as controlling the cost of public cloud to support disaster recovery. Dashboards provide visual representations of each end-to-end media processing workow, agging up any problems and changing channel line-ups easily in near real-time using drag and drop. Further improving availability, VN Cloud is the industry's rst solution to adopt a single channel fault domain approach, ensuring any issues are isolated to the impacted channel. “Our managed service proposition allows service providers, content owners and broadcasters to reinvent themselves by delivering broadcast quality services with the cost control and exibility of the cloud. As we designed VN Cloud, we focused on providing total control of complex, hybrid workows from scene to screen while managing costs and with the insurance policy of cloud-based disaster recovery,” Synamedia video network SVP and GM Julien Signès said. VN Cloud combines all the elements of a video network workow in a cloud-native format using microservices. Its containerized video processing stack means that each function, such as encoding, is fully isolated and managed on a per-channel basis. Workow support includes: the PowerVu portfolio for secure content distribution, low latency ABR, broadcast, Connect inter-cloud connection and ATSC 3.0.

Premium Content in Spain Spain is an important producer of content, both for its own markets and for a worldwide Spanish speaking population. In terms of scripted drama, only Germany produces more in terms of hours produced per year. This is a large industry that needs to be carefully guarded with an effective anti-piracy strategy; 932 companies employ over 15,000 people and generate €3.6 bn for the Spanish economy. Sports, in Spain as elsewhere, are a large driver of Pay TV revenues, with La Liga alone contributing 43% to the sector’s overall revenues. La Liga is the second richest soccer league in Europe in terms of broadcast rights, which are valued at over €1.6bn and account for over 50% of its revenues. La Liga also enjoys significant sponsorship and commercial revenues and thus has powerful brands whose investment and reputation needs to be protected. It is also worth pointing out that, while there is a significant market in the Americas, most of La Liga’s broadcast income is from the domestic market. Strategic efforts to combat the sports piracy that affects the League are best focused on Spain.

The Coalición de Creadores e Industrias de Contenidos represents most of the cultural and entertainment sector in Spain. It brings together the content and intellectual property defence industries in the audiovisual, music, book-publishing and video games markets and estimates that the annual loss to video piracy (films, television, and football) is €907 million.

The TV market in Spain is a vibrant one that is worth over €6 billion distributed roughly equally between Pay TV, public, and commercial broadcasters. The Pay TV sector on its own is worth €2.16 billion and represents 37% of viewing households in the country. After a long period of sustained growth where it doubled in size from 2003 to 2018 driven by intense competition from new entrants to the market, it is currently undergoing dramatic change as the viewing audiences pivots away from satellite to IPTV as the chart right indicates. Since IPTV was introduced in 2005 it has exhibited a CSGR of 27% per year. The SVOD market has around 90% of the subscriber numbers of the Pay TV one, but is only worth 10% of the value, reflecting a much lower ARPU of around €41 per annum. It can be considered a direct competitor, however, and its numbers are increasing as elsewhere. Netflix is unusually dominant in the country, though the following chart does not illustrate service stacking and viewers may be accessing multiple services.

Spain is a large, mature TV market with an overall value of over €6 billion and a significant position on the global stage thanks to the worldwide Spanish-speaking population’s desire for content in its native language. Also featuring one of European football’s richest leagues, La Liga, it is a prime target for content piracy. Our report collates the latest figures analyzing the Spanish market and the impact that piracy is having upon it. And we present exclusive research revealing the scale of live streaming and the way it undermines the investment of rights holders, using recent high-profile soccer matches as an example. According to EUIPO figures over 6% of the Spanish population - some 2.16 million people - use unauthorized IPTV to watch their favorite content. This does not even represent the biggest part of the illegal audience. The report also delivers the insight that a significant number of these viewers are paying for their illegal service, making them prime potential converts to becoming legitimate subscribers. To help ensure this happens it provides 5 key recommendations for an effective anti-piracy strategy in Spain. Lastly, it details our free service to operators and broadcasters that can provide a detailed breakdown of the Revenue Loss to piracy and be used in persuasive arguments at C-Level to invest in a coherent overall anti-piracy strategy.

We are clearly in a “new” golden age of TV. Audiences around the world have never had so many viewing options available. This has led to a creative surge in new groundbreaking storytelling and entertainment as both broadcasters and digital giants try to maintain the loyalty of their viewers. This is a double-edged sword however, because as the production of great content increases, so do the opportunities for video pirates. Akamai has, perhaps unsurprisingly, identified a dramatic rise in illegal pirate services that offer access to TV and movies and a corresponding rise in viewers who watch their content. While piracy has been prevalent for many years, improvements in digital technology and the lack of adequate global rights protection mean piracy is now a scaled and often lucrative business. Any industry would struggle to survive with “product shrinkage” caused by video pirates, which accordingly has the potential to impact the long-term viability of many businesses in the media value chain. In-depth analysis through the “Inside the World of Video Pirates” white paper reveals that those exploiting the industry generate more than €941.7 million per annum in the European Union alone across 14 million households, as cited by the European Union Intellectual Property Office (EUIPO). Although revenue losses often catch the headlines, the TV and film industries also support millions of jobs, from set designers and musicians through to carpenters and technicians — and piracy is putting these at risk. A report on the impact of digital piracy estimated that in 2019 between 230,000 and 560,000 jobs were lost in the United States alone as a direct result of pirating activity. Moreover, we are beginning to see signs that piracy is impacting licensing — the lifeblood of the creative industry, and arguably a more damaging strategic issue. Put simply, why would potential distributors pay significant sums of money for rights when the same content is readily found for free through pirate sites? Oscar-nominated producer Jason Blum described how piracy is having a direct impact on funds being made available for innovative, risky TV and film. He argues that the numbers are just becoming too unsustainable, and companies will eventually need to cut back their risk. So we need to ask who is doing this, can we stop them, and how? The pirate’s profile Whilst real insight is understandably difficult to come by, we do know that there is a complex array of pirate groups and subgroups, each with their own drivers and levels of sophistication. As examples, the release groups see themselves as altruistic revolutionaries. They are technically competent and prize early release assets but are not necessarily motivated by financial gain. Site operators certainly make money out of the process and often run highly scaled, very sophisticated businesses. Some site operators have passed themselves off as entrepreneurial chancers, but many have links into organised crime. As a contrast, we also see amateur pirates who are ambivalent to the fact that piracy is illegal and simply stream a live sports match over social media platforms using their phone. The presence of these different groups makes fighting the problem complex and often frustrating, and the term “whack-a-mole” is often used to describe the approach. The pirate’s methods As with most forms of cybercrime, if there is a weakness, the pirates will find and exploit it. With so many organisations and individuals involved in the production and delivery workflow, the structure of the industry itself presents a smorgasbord of opportunities for piracy to take place. Documented methods for video pirates include data centre breaches resulting in the theft of video assets, employee ID theft, providing access to video content through various production and edit systems, ripping content from legitimate sources (e.g., iTunes), and the tried and tested cinema filming systems. One of the fastest-growing forms of piracy is the capture and redistribution of TV channels or live events. Popular methods include intercepting decrypted video using HDCP strippers, using stolen legitimate viewer details, or simply recording screens using a mobile device. The pirate’s kryptonite With piracy so prevalent, the pertinent question is “can it be stopped?” Unfortunately, the answer is “not entirely.” As long as great content is being created, there will always be pirates looking to exploit it. However, steps can be established to mitigate its prevalence and impact. We can obviously try to reduce piracy demand by continuing to educate viewers about the impact on livelihoods whilst at the same time improving access to legitimate sources. But in order to make a real impact, we must also interrupt its supply. This can only be achieved through improved data and insight, renewed emphasis by regulators and legislators around the world to prosecute pirate gangs, and companies across the value chain reviewing and mitigating any technical vulnerabilities. The era of allowing content to be unprotected is long gone. What that means in practice, however, is taking a strategic review of operations and identifying weak links in the technical value chain from production to distribution, and applying appropriate measures. Video piracy is a complex, nuanced subject — and unless the industry comes together to tackle it head-on, it has the potential to threaten its long-term viability. The good news is that the industry is starting to mobilise. Research into the subject is becoming more considered, tougher legislation is starting to appear, and technology vendors are combining their capabilities to maximise potential. Finally, we are seeing signs that rights owners are insisting on minimum standards of content protection across the technical workflow. Today, these are isolated instances or “suggestions,” but moving forward we see these becoming a necessary function of doing business. With these initiatives in place, we can minimise the issue so that financial losses are reduced, job opportunities are protected, and licensing can continue to thrive in a global marketplace.

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