ITV

Tag: Motion Picture Association

  • LucidLink gets MPA TPN gold certification for providing highly secure services

    LucidLink gets MPA TPN gold certification for providing highly secure services

    MUMBAI: Storage collaboration platform LucidLink has got the stamp of approval from the Motion Picture Association (MPA). It recently got the  Trusted Partner Network gold shield certification from the association. The milestone highlights LucidLink’s unwavering commitment to safeguarding the most valuable assets of the media and entertainment (M&E) industry.

    The TPN, a global initiative by the MPA, is designed to protect against leaks, breaches, and hacks in the media supply chain. The gold shield certification represents the most rigorous evaluation process, conducted by accredited third-party evaluators, and exceeds the scope of self-assessments like TPN blue certification.

    LucidLink’s gold certification signifies its ongoing guarantee of building stringent security measures, crucial in an industry where protecting intellectual property and sensitive content is vital.

    LucidLink’s assessment was conducted by CISC Ltd,  an accredited TPN-certified third-party auditor with expertise in evaluating security in the M&E industry. The results of this assessment are now accessible to TPN Studio members via the TPN+ platform, enabling a streamlined and centralised review process for all stakeholders.

    The M&E industry is increasingly relying on cloud-based workflows. LucidLink addresses the sector’s rising digital security needs. With its innovative solutions, it says it ensures customers can confidently access, share, and collaborate on large-scale media projects without compromising on security or efficiency.

    “LucidLink has consistently prioritised security as one of the cornerstones of our solutions,” said LucidLink CEO Peter Thompson. “Achieving the TPN gold shield certification reaffirms our dedication to providing secure, cloud-native workflows that empower creatives to collaborate globally without compromising sensitive media assets.”

    LucidLink’s storage collaboration platform, known for its its zero-knowledge encryption model, ensures that only end-users can access their data—neither LucidLink nor storage providers have visibility. This level of security is particularly critical for M&E companies handling high-value projects like Oscar-winning films and award-winning TV programs.

    “By earning the TPN gold shield, LucidLink aligns itself with the MPA content security best practices, demonstrating its readiness to protect creative works across the evolving digital landscape,” said TPN president Terri Davies. “Commitment to securing cloud-based solutions is essential for modern media workflows, and earning a TPN gold enables software providers such as LucidLink to provide more reliable content creation while safeguarding against evolving threats.”

    LucidLink, says its dual achievement of SOC 2, Type II compliance earlier this year, and now  the TPN gold shield certification positions it as a trusted partner for studios, broadcasters, and post-production houses transitioning to cloud-based operations. These certifications validate its adherence to the most stringent security protocols, ensuring the safety and integrity of sensitive workflows across the global M&E supply chain.

  • MPA unveils new research on the success of K-content

    MPA unveils new research on the success of K-content

    Mumbai: New research prepared by Frontier Economics on behalf of the Motion Picture Association credits the South Korean government’s supportive policy environment and proactive efforts in copyright protection as key factors behind the growth and success of K-content. The MPA released the Frontier Economics report yesterday at an invitation-only event – Secrets of Success: the K-Power Story – during the 29th Busan International Film Festival.

    K-Content has become a cultural phenomenon, known as the “Korean Wave” (Hallyu), that is fueling South Korea’s rise as a global cultural powerhouse. Korean dramas, films and webtoons have gained massive followings around the world, generating an economic boon for the country and increasing Korea’s soft power exponentially.

    The report confirms the premise that sales of Korean content around the world drive Korea’s exports. In 2021, content sector exports reached USD12.4 billion (KRW16.0 trillion), and, recognising this success, the ministry of culture, sports and tourism has set a goal to double Korean cultural exports by 2027.

    Noticeably, the role of international VOD services has been critical to K-content exports. Frontier Economics highlights that 60 per cent of Netflix global subscribers have seen at least one Korean title. K-content’s popularity drives demand for online services in the Asia Pacific region: nearly 50 per cent of audience time spent on subscription VOD services in Asia Pacific involves watching Korean content.

    Opening the forum, MPA president & managing director Asia Pacific Belinda Lui said, “The success of the K-content industry is not accidental. It stems from a combination of creative genius, the freedom to tell stories and smart government action. Action in the form of a policy framework that encourages investment supports world-class production and backs development in talent and infrastructure. What comes next for the sector requires an informed conversation, and Frontier Economics’ findings provide a valuable contribution to that debate.”

    Film critic Yoon Sung-eun moderated a dynamic panel session featuring prominent executives from the film, television and streaming industry.

    “The arrival of streaming services in Korea over the last five to eight years refocused the Korean government on the importance of the screen sector”, said Kim Jong Hak Production CEO Sohn Gi-won. “The spotlight shone brightly on the industry and a wide range of funding was made available to smaller production companies.”

    Detailing some of the smart governance implemented over several decades, Film Business Division, Korean Film Council, director Kim Hyun-soo said, “Financial support ramped up in the 1990s. New SMEs started to invest in film and television. Following the Asian economic crisis, the government realized that more investment was required to stimulate the business. They introduced the idea of project financing. CGV and Lotte started to build multiplexes. These companies also invested in films to screen in their theatres. What is most important is that new films were funded through government agencies. With this injection of investment, screenwriters and directors entered the market. In summary, deregulation fundamentally contributed to positive developments from the government and private sectors.”

    Proposing what the Korean industry might consider as the next phase of its development, Schuyler Weiss, producer of the Academy Award-nominated film Elvis, said, “Opening up the Korean market to international production will benefit the entire Korean entertainment ecosystem and the local economy will profit. Korea has so much to gain from more collaboration with producers from around the world.”

    SLL Central team leader Seong Won-young added, “In the future, it would be good to see a higher proportion of non-scripted content – in the entertainment or sports sectors – shows like Chef in Black and White or Strongest Baseball, produced by Netflix, for example. In other words, I believe we need to diversify the portfolio in addition to series content.”

    The Motion Picture Association has partnered with the Busan International Film Festival for more than a decade. This year, the association is hosting the second annual MPA x KOFIC American Film Night, the MPA Chanel x BIFF Asian Film Academy Workshop: Bridge to Hollywood, and a feature film pitch competition in partnership with the Korean Academy of Film Arts.

    View and download Frontier Economics Policy + The Rise of K-Content 2024 here.

     

  • FCC commissioner Tom Wheeler proposes universal TV set-top-box

    FCC commissioner Tom Wheeler proposes universal TV set-top-box

    MUMBAI: In an attempt to overhaul the rules for television, tear down anti-competitive barriers and pave the way for software, devices and other innovative solutions to compete with set-top boxes (STBs), the Federal Communications Commission (FCC) has proposed universal STBs for television, which would allow consumers to view traditional cable and streaming video content on television.

     

    Wheeler is targeting a vote on 18 February by the five-member FCC on a proposal to overhaul the rules for STBs, which connect to cable, satellite and fiberoptic video systems.

     

    The proposed regulation would let customers get video services from providers instead of cable, satellite and other television providers.

     

    “Ninety-nine per cent of pay-TV subscribers are chained to their set-top boxes because cable and satellite operators have locked up the market,” the FCC said.

     

    According to the FCC, Americans spent $20 billion a year to lease pay-TV boxes, or an average of $231 a year. STB rental fees have jumped 185 per cent since 1994, while the cost of TVs, computers and mobile phones have dropped by 90 per cent.

     

    Recognising the importance of a competitive marketplace, the Congress directed the Commission to adopt rules that will ensure consumers will be able to use the device they prefer for accessing programming they’ve paid for.

     

    The FCC said that the only change it was proposing was to allow consumers alternative means of accessing the content they pay for.

     

    Wheeler’s proposal will create a framework for providing innovators, device manufacturers and app developers the information they need to develop new technologies. Consumers should be able to choose how they access the Multichannel Video Programming Distributor’s (MVPDs) – cable, satellite or telco companies – video services to which they subscribe.

     

    “A competitive marketplace is required by a 1996 law. Set-top boxes should be open to pay-TV rivals using formats that conform to specifications set by an independent, open standards body,” the FCC said.

     

    The proposal will help promote interoperability and remove barriers to innovation, prevent theft and misuse, lift up independent and minority programming content, honour the sanctity of contracts by providing copyright protection,  provide consumer protection by offering emergency alerts, privacy and advertising restrictions.

     

    It will also offer consumers more choice, greater flexibility, increased innovation, more competition and better prices.

     

    While the proposal has been welcomed by some, others have pooh-poohed it.

     

    “The promising slate of reforms proposed by (the chairman) could potentially allow consumers greater access to the content that they pay for, granting greater control over when, where, and how they want to access it, on the device they choose, without being locked into constant, unnecessary fees and excruciating installation and repair appointments,” said National Hispanic Media Coalition vice president of policy Michael Scurato.

     

    RLJ Entertainment chairman and Black Entertainment Television chairman Robert L. Johnson also came out in support of FCC’s proposal.

     

    Johnson said, “In my opinion, this is the best decision that the FCC has made to increase minority diversity in media content distribution since the Commission championed the tax certificate, which allowed for the increase in minority ownership of media properties. I am also very pleased that after speaking with several Members of the Congressional Black Caucus, the Caucus has agreed to a meeting to hear my position on this matter.”

     

    “If you have a good program idea, some financing and access to the Internet, you can find your audience. But your audience can only find you if they have a modem or a set-top box or software that lets them know you are there and gives them access to your programs unconstrained by the network gatekeeper,” he added.

     

    However, a coalition of pay-TV provider called Future of TV Coalition comprising the National Cable & Telecommunications Association, American Cable Association, Motion Picture Association of America and others, which has been formed to oppose the ‘AllVid’ proposal, said the proposed regulation will not provide new programming to customers or lower their television bills.

     

    In a statement, the Future of TV Coalition said, “The FCC proposal, as best anyone can understand it, still strips out all the tools that are used to honour license agreements, would increase consumer costs by mandating yet a second box inside the home and thus ignores the trends away from in-home boxes and devices, eliminates security protections and provides no reassurance on privacy rights.”

     

    TV One CEO Alfred Liggins and Future of TV Coalition co-chair added, “The ‘AllVid’ proposal is a brazen money grab by the Big Tech companies that would do severe damage to the programming ecosystem, and in particular, niche and minority-focused networks.”

  • FCC commissioner Tom Wheeler proposes universal TV set-top-box

    FCC commissioner Tom Wheeler proposes universal TV set-top-box

    MUMBAI: In an attempt to overhaul the rules for television, tear down anti-competitive barriers and pave the way for software, devices and other innovative solutions to compete with set-top boxes (STBs), the Federal Communications Commission (FCC) has proposed universal STBs for television, which would allow consumers to view traditional cable and streaming video content on television.

     

    Wheeler is targeting a vote on 18 February by the five-member FCC on a proposal to overhaul the rules for STBs, which connect to cable, satellite and fiberoptic video systems.

     

    The proposed regulation would let customers get video services from providers instead of cable, satellite and other television providers.

     

    “Ninety-nine per cent of pay-TV subscribers are chained to their set-top boxes because cable and satellite operators have locked up the market,” the FCC said.

     

    According to the FCC, Americans spent $20 billion a year to lease pay-TV boxes, or an average of $231 a year. STB rental fees have jumped 185 per cent since 1994, while the cost of TVs, computers and mobile phones have dropped by 90 per cent.

     

    Recognising the importance of a competitive marketplace, the Congress directed the Commission to adopt rules that will ensure consumers will be able to use the device they prefer for accessing programming they’ve paid for.

     

    The FCC said that the only change it was proposing was to allow consumers alternative means of accessing the content they pay for.

     

    Wheeler’s proposal will create a framework for providing innovators, device manufacturers and app developers the information they need to develop new technologies. Consumers should be able to choose how they access the Multichannel Video Programming Distributor’s (MVPDs) – cable, satellite or telco companies – video services to which they subscribe.

     

    “A competitive marketplace is required by a 1996 law. Set-top boxes should be open to pay-TV rivals using formats that conform to specifications set by an independent, open standards body,” the FCC said.

     

    The proposal will help promote interoperability and remove barriers to innovation, prevent theft and misuse, lift up independent and minority programming content, honour the sanctity of contracts by providing copyright protection,  provide consumer protection by offering emergency alerts, privacy and advertising restrictions.

     

    It will also offer consumers more choice, greater flexibility, increased innovation, more competition and better prices.

     

    While the proposal has been welcomed by some, others have pooh-poohed it.

     

    “The promising slate of reforms proposed by (the chairman) could potentially allow consumers greater access to the content that they pay for, granting greater control over when, where, and how they want to access it, on the device they choose, without being locked into constant, unnecessary fees and excruciating installation and repair appointments,” said National Hispanic Media Coalition vice president of policy Michael Scurato.

     

    RLJ Entertainment chairman and Black Entertainment Television chairman Robert L. Johnson also came out in support of FCC’s proposal.

     

    Johnson said, “In my opinion, this is the best decision that the FCC has made to increase minority diversity in media content distribution since the Commission championed the tax certificate, which allowed for the increase in minority ownership of media properties. I am also very pleased that after speaking with several Members of the Congressional Black Caucus, the Caucus has agreed to a meeting to hear my position on this matter.”

     

    “If you have a good program idea, some financing and access to the Internet, you can find your audience. But your audience can only find you if they have a modem or a set-top box or software that lets them know you are there and gives them access to your programs unconstrained by the network gatekeeper,” he added.

     

    However, a coalition of pay-TV provider called Future of TV Coalition comprising the National Cable & Telecommunications Association, American Cable Association, Motion Picture Association of America and others, which has been formed to oppose the ‘AllVid’ proposal, said the proposed regulation will not provide new programming to customers or lower their television bills.

     

    In a statement, the Future of TV Coalition said, “The FCC proposal, as best anyone can understand it, still strips out all the tools that are used to honour license agreements, would increase consumer costs by mandating yet a second box inside the home and thus ignores the trends away from in-home boxes and devices, eliminates security protections and provides no reassurance on privacy rights.”

     

    TV One CEO Alfred Liggins and Future of TV Coalition co-chair added, “The ‘AllVid’ proposal is a brazen money grab by the Big Tech companies that would do severe damage to the programming ecosystem, and in particular, niche and minority-focused networks.”

  • ISPs in Europe authorised to stop illegal and pirated movie sites

    ISPs in Europe authorised to stop illegal and pirated movie sites

    NEW DELHI: In a judgment that may serve as a precursor to similar action around the globe, the Court of Justice of the European Union (CJEU) has said that the Internet Service Providers (ISPs) in Europe can legally block piracy sites that illegally distribute copyright-protected material.

                          

    The Motion Picture Association’s European branch welcomed the decision as a “proportionate and valid measure” in fighting copyright infringement and “an important milestone in the creative industries’ ongoing efforts to curb online piracy.”

     

    The verdict sets a clear legal framework across the European Union territories and confirms national court rulings in several territories. The ruling also sends a strong signal to ISPs that website blocking is an effective measure to reduce overall infringement, the MPA said, and that ISP is typically the best-place to tackle copyright infringement.

     

    The European court ruled on a case filed on 15 June 2012 before the Austrian Supreme Court. Distributors Constantin Film and Wega took action against Austrian ISP UPC Telekabel Wien for not blocking access to kino.to, the largest piracy site in German-speaking Europe with a top 40 ranking on Alexa.com and up to four million visitors per day. The case went all the way to Europe’s Supreme Court, with the CJEU asking to clarify the legality of site blocking, which Internet freedom advocates have compared to censorship.

     

    MPA EMEA president and MD Chris Marcich said the verdict means that rights holders “will continue to have the ability to secure balanced website blocking orders from national courts across the EU to address infringing sites.”

     

    Marcich said: “I am particularly encouraged by the strong stance the CJEU has taken in relation to the responsibility of intermediaries to address copyright infringement. A sustainable internet that benefits all must operate fairly, with proportionate and balanced rules. We must all play a constructive role in this aim, including search engines who continue to lead consumers to illegal money-making sites.”

     

    He cited the hard work the movie industry across Europe is carrying out to “develop new, innovative and consumer-friendly platforms delivering the shows and movies that audiences want to see — whilst ensuring that the creators and makers get compensated for their hard work.”

     

    According to MPA figures, citizens in Europe have access to over 3,000 legal on-demand video services. 

     

  • MPA unveils anti-piracy campaign with Pele at the helm

    MPA unveils anti-piracy campaign with Pele at the helm

    MUMBAI: In conjunction with the ongoing 2006 Soccer World Cup in Germany, the Motion Picture Association (MPA) has released an anti-piracy public service announcement featuring Brazilian football superstar Pele.

    The public service announcement running on television networks during the World Cup tournament is aimed at increasing public awareness about copyright law and encouraging the public to reject pirated movies found online or on DVDs.

    Pele is one of the most beloved and talented soccer players of all time. He embodies the notion of fair play and love of the game and continues to be an inspiration for young athletes around the globe. In the PSA, Pele appeals to football fans to “score a goal against piracy”, explaining that piracy hurts working people, specifically the thousands of people who work to create movies, states an official release.

    The education effort represented by the trailer campaign complements ongoing government anti-piracy enforcement efforts, and in significant seizures of CD-Rs, VCDs and DVDs, adds the release.

    “We are honoured to have a distinguished teammate in Pele in our fight against film copyright theft,” says MPA India head Chander Lall. “Pele has a reputation for fair play and in this public service announcement he carries that message to people – urging them to do the right thing by renting, buying or downloading movies legally.

    “Enforcing copyright laws not only protects movies, music, computer software and other intellectual property but also stimulates and encourages more creativity. If the people of India do not respect intellectual property and encourage piracy by purchasing pirated copies of movies or downloading through Internet, investment in the creative industries will be lost.

    “Furthermore, foreign investors and distributors might decline to market new products in India. This would affect not only India’s international reputation, but also its economic and social development,” adds Lall.

    Earlier this year, Pele worked with the MPA to produce the anti-piracy PSA. Pele’s own movie, Pele Forever, released in 2004, was pirated and sold illegally on the streets in Latin America.