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  1. This Cat Betrayed His Girlfriend just funniest vid ever! If we could refrain from using quotes in replies here pls?
  2. Court Orders YouTube Rippers to Log and Share Data with Record Labels A Virginia District Court has ordered the Russian operator of two popular YouTube rippers to keep extensive logs of user activity and hand these over to the major record labels. The order was requested by the labels, which argue that FLVTO.biz and 2conv.com facilitate massive copyright infringement in the United States and abroad. The major record labels believe that YouTube rippers are the most significant piracy threat on the Internet. These sites, which can be used for a variety of purposes, are used by some to convert free YouTube videos into MP3s. FLVTO.biz and 2conv.com Lawsuit Three years ago a group of prominent music companies took two of the largest YouTube rippers to court. The labels, including Universal, Warner Bros, and Sony, accused FLVTO.biz, 2conv.com and their Russian operator Tofig Kurbanov of facilitating copyright infringement. While many foreign site operators choose not to fight back, Kurbanov did. With help from a seasoned legal team he filed a motion to dismiss, arguing that US courts don’t have jurisdiction over a Russian site operator who conducts his business from another continent. Initially, the district court agreed with this defense, dismissing the case. However, the record labels successfully appealed and, after Kurbanov’s petition at the Supreme Court was denied, the case is now back at a Virginia district court where it proceeds on the merits. Collecting Evidence Over recent weeks, both parties have used the discovery process to gather relevant evidence. The music companies requested all sorts of information from Mr. Kurbanov, including download statistics and location data, but soon learned that the sites only keep minimal logs. The site operator informed the labels that he simply has nothing to share. The requested data do not exist, he replied, noting that it would be ‘unduly burdensome’ to ‘create or produce’ logs. The labels clearly disagreed and noted that Mr. Kurbanov could enable logging on these servers. As such, they went to court, requesting an order that requires the sites to preserve and share data they deem important. “The problem is that Defendant has configured his server software to turn the logging function off — thus, continually overwriting important data that Plaintiffs explicitly requested in discovery,” the labels wrote. After reviewing the arguments from both sides, US District Court Judge Theresa Carroll Buchanan now sides with the music companies. The motion to compel is granted which means that the YouTube rippers must preserve and share server logs. Identifying User Locations The order is disappointing news for the operator of the YouTube rippers and may also be a concern for some of the site’s users. Looking at the paperwork in detail, however, there is no indication that the labels are planning to go after individual users. Mr. Kurbanov opposed the request by arguing, among other things, that logging IP-addresses would put user privacy at risk. However, in response, the labels noted that redacting this information is an option. “Defendant’s only purported privacy concern relates to IP addresses; redactions, combined with identification of the user’s geographical location, can readily address that concern,” they wrote. The labels specifically request the location of users down to the state level. This will help to identify where most users are coming from, but nothing more. For all converted files, the labels want to receive “documents concerning each subsequent use, copying, storage, distribution, or other disposition of the audio file, including the date and time of download of the audio file and the geographic location (i.e., state) of the User.” A Selection of the Requests In addition, Mr. Kurbanov is required to produce more general statistics such as the most frequently converted music video streams per month and year. The labels likely expect that their copyrighted works are on these lists. The court order doesn’t make clear whether the data will be redacted or not. It simply refers to “specific rulings and instructions” that were discussed during the court hearing. This isn’t the first time that an alleged ‘pirate’ site has been ordered to keep extensive logs. The same happened to the now-defunct torrent site TorrentSpy.com, which decided to close its doors in the US soon after. Whether the YouTube rippers have anything planned in response is unknown. TorrentFreak reached out to Mr. Kurbanov’s legal team asking for a comment on the ruling but, at the time of writing, we have yet to hear back. — A copy of Judge Buchanan’s order is available here (pdf). The record label’s request, which includes the requests for production, can be found here (pdf) Court Orders YouTube Rippers to Log and Share Data with Record Labels
  3. Opera 76 fixes the YouTube ad blocking issue A couple of weeks ago, I told you that Opera browser isn't blocking YouTube ads. This issue has been quite the headache for users, but the latest update seems to have fixed the problem. Opera has released a new version of its browser to the stable channel. The update announcement on the company's blog finally acknowledges the ad blocking issue was real. As a matter of fact, it was the only thing highlighted in the article. Opera 76 has fixed the YouTube ad blocking issue. Interestingly, the post also confirms that the ad blocker was not properly blocking all ads. That kind of explains why I got ads only on some videos, it was random. The release notes for Opera 76.0.4017.177 makes things even more interesting, it reads, DNA-93554 [AdBlock] Find a fix for blocking ‘new’ YouTube ads Notice how the 'new' part is in quotes. Some Brave users had reported the ad blocking issue as well. That indicates there's something odd going on behind the scenes. It's good to see that the problem has been addressed by Opera. Speaking of which, does the ad blocker work? There's only one way to find out. I reset the browser to make it work like a fresh install, and to get rid of all extensions and custom settings. The first part of the test was to use Opera browser with its default settings. So, here are my observations from using the browser without the ad-blocker enabled. A lot of YouTube videos started out with a video advertisement before getting to the actual content, while some had banner ads that stayed on top of the media. The search results page had an ad banner too. There's nothing unusual about this, this is how the world looks when you aren't using an ad-blocker, and that's what makes it annoying. Time for part 2 of the test, all I enabled was the option to block ads. I did not toggle the block trackers setting. After watching several videos and restarting the browser multiple times, I can confirm that the ad blocker works correctly. Opera browser blocked all three types of ads (in-video ads, sticky banners, and banners on the results page). Opera 76 also fixes an issue with the picture-in-picture video playback, you can now control the sound properly in the pop-out. Did you notice that Opera's blog announcement does not talk about Opera GX? If you read my previous article, you may remember that GX had the ad blocking issue as well. After a bit of searching, I found the change log for Opera GX on the community forums. The post mentions that the same fix for the ad blocker was added in version v75 of the browser. That's Opera GX 75.0.3969.282 to be precise. So, I gave it the same treatment as the regular variant of the browser, and GX seems to be blocking ads just as it should be. If you're using an older version of the browser, I recommend updating to Opera 76. The installer is available at the official site. Don't forget to tell us whether the ad blocker is now working fine for you. Opera 76 fixes the YouTube ad blocking issue
  4. SkyTube: open source YouTube app for Android with ad-blocking and video downloading SkyTube is an open source third-party YouTube application for Android that users may install and use instead of the official YouTube application. SkyTube offers a view-only experience, which means that it does not support signing-in with a Google or YouTube account; this does not mean that it does not support the essentials. You may subscribe to channels and bookmark your favorite videos, read comments, and use the built-in search. SkyTube supports features that Google's own YouTube app does not support, including the ability to block channels, block all ads on the site, including in-vidoe ads, and the option to download videos for offline viewing. You can download the app either from its website or from F-Droid. The F-Droid version is fully open source and free software, but app updates take longer to appear, and it does not support the official YouTube player. Tip: check out this guide to find out how to play YouTube videos on your Fire TV without ads. SkyTube displays videos of the featured category by default. You may switch to a language-specific tab to display trending videos, a chronological feed of videos by subscribed channels, bookmarked videos, or downloaded videos. The system language is used by default, but you may change it in the settings under video player. There is a search at the top to search all of YouTube, and a menu with settings and the option to paste a video URL directly. The second icon at the top opens the video blocker preferences. It may be used to block channels, but comes with additional filter options that users may find useful. Users may set a preferred region and language to filter videos in the "Worldwide (ALL)" category. Other options include filtering low views videos or videos with a high dislike count. The menu that is displayed underneath each video displays several options, including options to download the video, bookmark it for later viewing, block the channel, or mark the video watched. You cannot subscribed to channels from that menu, and need to tap on the channel to display it and the subscribe option. Videos play directly once you have selected one in the app. The navigational controls are hidden by default but appear when you interact with the screen. The app supports gestures that you may use to display comments, or change the volume or brightness. These gestures can be disabled in the preferences. The video player supports the usual options, such as seeking, using the position slider to jump to a position, changing playback speed, or setting videos to repeat. An option to change the video quality appears to be missing. The player remembers the last position of videos and prompts you to resume the video from that position; this can be disabled as well. Closing Words SkyTube is a well-designed third-party YouTube app for Android. It blocks ads and does not depend on Google Apps. The app is open source and supports video downloading, subscriptions, and channel/video blocking. The only thing that is missing is the ability to change the playback quality manually. An alternative are YouTube Vanced. Now You: do you use YouTube's official app, or third-party apps? Source
  5. YouTube’s Takedown Numbers are a Mystery, But Content-ID is a ‘Cash Cow’ Google transparently reports the billions of copyright takedown requests it receives for its search engine. However, finding out how many videos are flagged and removed on YouTube appears to be quite the challenge. We gave it a go nonetheless and can also conclude that the Content ID system is a cash cow. Earlier this year we reported that Google had processed the five billionth DMCA takedown request for its search engine, a massive number. These data are conveniently shared through Google’s official transparency report, which is a treasure trove for reporters. For example, it allowed us to monitor the steep increase in notices over the years, as well as the subsequent decline. The data has also helped us spot errors and inaccuracies and it also provides fuel for academic research as well. It’s safe to say that Google’s transparency report offers a wealth of valuable information. It would make sense to have similar data available for YouTube but, unfortunately, that’s not the case. No YouTube Copyright Transparency Report When we look at Google’s transparency report, there is no mention of YouTube’s copyright complaints. There is plenty of data showing how many videos, channels, and comments are removed for violating the community guidelines. However, copyright requests are not included. This is odd because every day there are mentions of YouTubers facing issues with DMCA removals or Content ID flagging. These reports have increased over the years but keeping track of the volume, or scanning publicly for errors, is impossible. We asked Google about this omission this week, but without result. While the company has been quite responsive to other inquiries, it remains silent on this issue. This leaves us with no other option than to scour the web for bits and pieces, trying to lift at least part of the veil. After browsing through public reports and testimonies, we found that in 2017 YouTube removed “more than 7 million video URLs” following DMCA requests. These are requests that are sent by copyright holders outside of the Content ID system. This is actually a vital reference point because YouTube separately reported that 98% of all copyright claims were made through Content ID in the same year. This indirectly suggests that a total of 350 million copyright claims we made on YouTube that year. 350 Million YouTube Copyright Claims The 350 million is extrapolated from public information and not confirmed by Google, but it would make sense. And given that the data is from 2017, we expect the number to be significantly higher right now. It is worth noting that only a small fraction of the reported videos were removed. That brings up another intriguing Content ID feature that’s not often highlighted: the monetization angle. YouTube frequently mentions that it spent over $100 million on the development of its Content ID system. This is brought up to show how much the company cares about and invests in rightsholders but the anti-piracy system helps to bump its own revenues as well. In a recent hearing, before the US Senate, YouTube’s Global Director of Business Public Policy Katherine Oyama said that the vast majority of all claimed videos are not removed, but monetized instead. “Rightsholders choose to monetize 90% of all Content ID claims, opening up a multitude of new revenue streams for themselves. In the music industry, rightsholders choose to monetize over 95% of Content ID claims.” This revenue is split between YouTube and copyright holders. And with millions of flagged videos, we’re not talking about peanuts here. Billions in Content-ID Monetization Revenue At the Senate hearing last December, Oyama said that YouTube paid more than $5.5 billion in ad revenue to rightsholders from content that was claimed and monetized through Content ID. What YouTube didn’t highlight is that it made billions in revenue from these same videos as well. Revenue that would have (partially) been lost if the videos had been taken offline. That’s well worth the $100 million investment into the Content ID system. Monetizing ‘infringing’ videos instead of taking them offline has essentially transformed the anti-piracy tool into a cash cow that generates massive amounts of money for copyright holders and YouTube. (Almost) No Losers It almost appears to be an ideal scenario where there are only winners and no losers. Almost… That brings us back to the transparency issue. In the past, we have seen rightsholders abuse the Content ID system to claim content that’s clearly fair use, or sometimes simply not something they own. These people can then hijack the ad revenue as well, which clearly frustrates the channel owners Now if we could only transparently see what is claimed and by who, it may actually help to limit these mistakes, and hold abusers accountable. YouTube’s Takedown Numbers are a Mystery, But Content-ID is a ‘Cash Cow’
  6. Code_Modern

    Gihosoft TubeGet Pro 8.6.82

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  7. Movie Tycoon Sues YouTube over Piracy and Exposes Content-ID ‘Caveat’ Movie tycoon Carlos Vasallo is suing YouTube for widespread copyright infringement. Despite sending over 10,000 takedown notices, pirated copies of his movies continue to appear. YouTube did offer access to its Content-ID system but the movie magnate refused, as that would require him to release the video platform from all possible piracy claims that took place in the past. To protect copyright holders, YouTube uses an advanced piracy recognition system that flags and disables videos that are uploaded without permission. This copyright filter, known as Content-ID, works reasonably well but its use is limited to a select group of major copyright holders. The Spanish-born movie tycoon Carlos Vasallo should fall into this category. Through several companies, the actor and producer owns the rights to the world’s largest collection of Mexican and Latin American movies. Unfortunately, many of these are illegally shared on YouTube. In 2015, Vasallo reached out to YouTube, hoping to fix this piracy problem. The video platform was open to explore several options and Mr. Juanjo Duran, Google’s Director of Latin Media and Entertainment, suggested the “Content-ID” system as an ideal solution. This sounds like a typical approach YouTube would have when dealing with major copyright holders. However, unlike others, Vasallo refused to use Content-ID system because it came with a major caveat. Mr. Vasallo had to release YouTube from all possible piracy claims that took place in the past. Movie Tycoon Sues YouTube in Florida Instead, the movie tycoon opted to send old-fashioned DMCA takedown notices. However, according to a lawsuit filed in a Florida federal court this week, that did little to stop people from pirating his films. Vasallo hired a New York law firm to police YouTube and send takedown notices when pirated copies appeared. While the takedown process worked, new copies were added constantly. Even banned users reportedly returned using new names. “Once a pirated movie was found, Mr. Vasallo and Plaintiff would send YouTube a takedown notice. YouTube would then remove the pirated video movie in its entirety. However, YouTube would not remove all matching videos, as YouTube would specifically only remove the one video from the one infringer related to the single infringing upload identified in the takedown notice. “The same infringer would be free to upload the video again until three takedown notices were filed against him within a ninety-day period. Then and only then, would YouTube cancel the infringer’s username. The same infringer could then create a new username and begin the process of posting the pirated videos all over again,” the complaint notes. Over the past several years, the law firm sent over 10,000 takedown notices for pirated films that were viewed more than 500 million times on YouTube. The video service maintains that this is how the DMCA works, but the movie tycoon argued that the company should do more. Content-ID Comes With a Caveat The complaint mentions the earlier discussions with YouTube about joining the Content-ID platform. At the time, YouTube said that it could “very easily” detect and block infringing content. However, in order to join, the movie tycoon had to sign a release. Under U.S. law, YouTube is not obliged to actively monitor for pirated content. The company told the movie tycoon that it’s protected by the DMCA. But what is the purpose of the release then, Vasallo wonders. “(i)f Defendants confidently rely on the protections afforded to them by the DMCA, then why did Defendants adamantly insist that Mr. Vasallo, as well as Plaintiff, release Defendants from all claims associated with Defendants’ prior acts of piracy? “The clear answer to this question is the following: Defendants consistently use the DMCA as both a shield and sword against the average copyright owner, such as Plaintiff in this case,” the complaint adds. ‘YouTube Should Proactively Monitor Piracy’ The lawsuit argues that YouTube should be required to take reasonable steps to anticipate and filter potential copyright infringements. This effectively means opening up the Content-ID system to all rightsholders without caveats. According to the movie mogul, YouTube has intentionally decided not to use the Content-ID process for all rightsholders. By doing so, it can monetize the billions of views these videos generate. “Accordingly, Defendants knowingly and willingly induced, facilitated, engaged, and promoted the infringement of Plaintiff’s copyrighted materials for their own financial benefit,” the complaint reads. Through the lawsuit, Vasallo requests damages for YouTube’s alleged copyright infringing activity. With over 700 copyrighted titles, the potential statutory damages add up to more than $100 million. In addition to ruling that YouTube willfully infringed copyrights, the movie tycoon also requests a permanent injunction to require the video platform to implement reasonable technologies to prevent or limit copyright infringement going forward. That sounds a lot like the EU’s ‘upload filter’ requirement. — A copy of the complaint Mr. Vasallo’s company Athos Overseas filed against YouTube at the US District Court for the Southern District of Florida is available here (pdf) Movie Tycoon Sues YouTube over Piracy and Exposes Content-ID ‘Caveat’
  8. Microsoft investigates reports of YouTube crashing Edge browser Some users on online forums reported Microsoft Edge freezes and crashes when they watch a Youtube video on Full Screen. The issue seems to have majorly affected the stable version, Edge 90. Microsoft said it is looking into the issue and rolled out a fix for the potential cause to Canary. Meanwhile, if you’re affected, here is what you can do. Certain Google services only work in Chrome browser, Google Translate is an example. Some Apps work without any issues on any Chromium browser. To avoid compatibility issues, Microsoft switched to Chromium/Blink for Edge. Seems everything is fine so far till now when comes to Google properties. But, Microsoft Edge based on Chromium is not flawless. YouTube videos freeze and crash Microsoft Edge After a recent upgrade to Edge 90, users started complaining when they watch a YouTube in full screen, it freezes and the Edge sub-process consumes most resources, and eventually, the Edge browser crashes. Some users found killing Edge process consuming resources in Task Manager, makes the video work again. Reddit is filled with reports about the issue and a thread on the Edge tech community forum reveals Edge users going through in recent days with YouTube. Microsoft pushes a fix to Edge Canary Microsoft says they push a fixed fix for a potential cause to Edge Canary, so try it out for the time being. Microsoft Edge Community Manager Missy Quarry provided these statements in a couple of Reddit threads. “I have been working with the team to investigate similar reports of YouTube crashing the browser. There are a couple of situations around this, so I’d love to verify a recent fix we put in resolves any of you off if you continue to experience any hanging or crashing” “We believe we have resolved one potential cause of this, and this currently in our canary channel. I’m not sure if it made it to our dev channel this week, if you’re still experiencing crashes give our canary channel a shot” Missy said. If you don’t want to test bleeding Edge Canary, try the following steps Try clearing the cache Disable hardware acceleration by visiting Settings > System > Toggle, ” Use hardware acceleration when available” and restart Edge. Run YouTube video in Private mode to check extensions aren’t causing this Disable Extensions Update Edge browser. Update Graphics card drivers See if using Edge Dev or beta or Canary or Chrome or other browsers such as Firefox or Opera. helps. Source: Microsoft investigates reports of YouTube crashing Edge browser
  9. Will Smith, Alicia Keys to Headline YouTube Original Series Everett Collection (Smith); Stephen Lovekin/Variety (Keys) YouTube has again turned to big-name entertainment personalities to anchor its latest slate of ad-supported originals. At its Brandcast Delivered event for advertisers Tuesday, YouTube announced an unscripted series with Will Smith following his latest fitness journey and a new docuseries with Alicia Keys premiering this summer. The video giant also announced the third and final season of comedy “Liza on Demand,” starring popular comedian and YouTube creator Liza Koshy; “Ice Cold,” a docuseries produced by hip-hop trio Migos exploring issues around racial inequity; and a new special celebrating Asian and Pacific Islander culture. The YouTube Originals strategy remains the same: They’re projects built around personalities and top YouTube creators designed to draw a large audience, as well as projects designed to support specific causes, said YouTube ‎chief business officer Robert Kyncl. “If you’re a creative person, you want to work with the place that has the greatest reach — that’s the ultimate satisfaction, greater than money,” Kyncl said in an interview. The creator economy, he said, is “here to stay — and it’s not just YouTube, the whole world has kind of validated it. It’s reshaping Hollywood and other industries around the world.” The Will Smith project (working title: “Best Shape of My Life”) is slated to premiere in 2022. The six-part fitness series from Will Smith and Jada Pinkett Smith’s Westbrook Media will follow the actor as he challenges himself to improve every aspect of his fitness with the help of guests including pro athletes, scientists and experts — and top YouTube creators. The series will be directed and showrun by filmmaker Dexton Deboree. It’s Will Smith’s second project with YouTube Originals: In 2018, In his first, he bungee-jumped from a helicopter over the Grand Canyon on his 50th birthday to raise money for charity. Alicia Keys’ “Noted” (working title) is slated to premiere this summer. It will follow the singer-songwriter as she celebrate the 20th anniversary of her seminal album “Songs in A Minor” and heads into the studio to record her eighth record. Produced in partnership with Westbrook Media, in the four-part docuseries Keys “will bring the past 20 years to surface” with performances and behind-the-scenes footage, per YouTube. YouTube’s “Liza on Demand” Season 3, premiering later this year, will again star actor-producer-creator Liza Koshy alongside returning cast members Kimiko Glenn and Travis Coles as they wade through the highs and lows of their 20s. “Liza on Demand” is produced by Above Average with executive producers Liza Koshy, Courtney Carter, Deborah Kaplan, Harry Elfont, Marc Lieberman, Ally Engelberg, Caroline Miller and Elliot Glazer. YouTube docuseries “Ice Cold,” from executive producers Migos, uses the prism of hip-hop jewelry to explore deeper issues around racial inequity and the American dream. The collection of four short episodes is directed by Karam Gill (“G-Funk,” “Supervillain”) and is produced by Quality Films, Universal Music Group’s Mercury Studios and Polygram Entertainment, MGX Creative, and Mass Appeal. YouTube’s “Recipe for Change” (working title) is set to premiere June 16, featuring Asian American storytellers and bringing together celebrities, chefs, activists, and creators to celebrate Asian and Pacific Islander culture and discuss acts of hate and violence against the API community. LeBron James and Maverick Carter will serve as executive producers on the special with their media conglomerate the SpringHill Company. Michelle Kwan and Dennis Cheng will also executive produce alongside Jamal Henderson and Philip Byron of SpringHill, showrunner Joel Relampagos, and director Rich Kim. Original special “Barbershop Medicine,” premiering this summer, will explore the impact race and socioeconomic status have on healthcare and longevity. The special will bring together musical artist Masego, renowned physicians Dr. Italo Brown and Dr. Jamie Rutland and community members in a storied barbershop to discuss today’s most pressing health concern, COVID-19. The special is from the #YouTubeBlack Voices Fund and is executive produced by Charles D. King, Marta Fernandez, Jelani Johnson, and Aisha Corpas Wynn for Macro Television Studios and Culture House. Hashim Williams is executive producer and showrunner. In addition, YouTube has set a global livestream special for Pride Month, in partnership with The Trevor Project to raise money for LGBTQ+ youth, on June 25 featuring Trixie Mattel, Daniel Howell, Kim Chi, Monét X Change, Peppermint, Denali Foxx and more. Premiering May 8 is “Vax Live: The Concert to Reunite the World,” a broadcast and livestream special presented in partnership with Global Citizen that aims to encourage people to get COVID vaccines. Additional upcoming YouTube originals include a second season of “Could You Survive the Movies,” hosted by YouTube creator Jake Roper, premiering this summer; additional topical episodes of the Vox Media Studios’ “Glad You Asked” this summer; a second interactive special with YouTube creator Markiplier set for later this year; and a second season of competition series “Instant Influencer” with new host, Zach “ZHC” Hsieh premiering this fall; and Season 2 of hit Brazilian series “Whindersson: Próxima Parada” premiering this Summer. The 2021 YouTube Brandcast, its 10th annual presentation at IAB’s NewFronts, was emceed by Hasan Minhaj. The show featured appearances from YouTubers and talent including The Fitness Marshall, The Try Guys, iJustine, ZHC, Tarek Ali, AsapScience, Naomi Campbell, Jessica Alba and Venus Williams, along with musical performances by Miley Cyrus, Kurt Hugo Schneider, Tkay Maidza, Joy Oladokun and Rexx Life Raj. During the event, YouTube announced a new interactive advertising product called “brand extensions,” slated to be available globally later this year, which will let users click on an ad to learn more about a product without interrupting their viewing experience. In addition, the platform is introducing YouTube Select Sponsorships, which will offer advertisers seasonal sponsorships focused specifically on what’s prominent in culture during that time of year (like Mother’s Day, summer wellness or women in music during Women’s History Month). Kyncl called out YouTube’s rapid ascent in the living room: In the U.S., more than 120 million people streamed YouTube or YouTube TV on their TV screens in December 2020. He also pointed to a June 2020 study Google commissioned that found in the U.S., YouTube was No. 1 video content provider viewers would miss the most if it was no longer available. While YouTube’s Brandcast was all about pushing the free, ad-supported side of its business, Kyncl said the subscription side of the house continues to grow. YouTube Premium (which includes YouTube Music) now has more than 30 million subscribers. Of course, that’s just a fraction of the 2 billion-plus monthly logged-in users overall for YouTube. “If we had all of Netflix and all of Amazon [paid video subscribers] inside of YouTube, we would still be majority free viewers,” Kyncl said. “The engagement level on an ad-supported service is far greater than anything on an SVOD service,” he said, but added, “that doesn’t mean we will not have a large and growing subscription business.” Source: Will Smith, Alicia Keys to Headline YouTube Original Series
  10. I think there's a guy dressed as a woman among that threesome https://www.youtube.com/watch?v=M8-vje-bq9c
  11. YouTube launches COVID-19 vaccine online and TV PSAs, focusing on Americans ages 18-34 Google products have a large reach, and YouTube wants to use its platform to “encourage people to get informed about the vaccine.” YouTube’s COVID-19 vaccine info PSA is starting in the US and will expand to other countries. The Google video service calls today’s launch the “first chapter” of a public service announcement series with the Vaccine Confidence Project at the London School of Hygiene & Tropical Medicine. It also wants to “remind us of all that we have to look forward to in a post-pandemic world.” YouTube, along with health authorities around the country and world, want to specifically address vaccine hesitancy: At YouTube, we are committed to making sure that people have access to reliable information about the vaccine, including how it was developed and tested, what they can expect when they get the vaccine, and how every person plays a part in the public’s health. Hearing inaccurate information can breed doubt in someone’s mind and that’s why trusted scientific and medical organizations are partnering with YouTube to make sure credible information is reaching people in accessible and culturally relevant ways. The PSAs start today and will run through July on both YouTube and television. The goal is to reach Americans between the ages of 18-34 — a “key demographic to help control the spread of the virus.” They are all available at youtube.com/vaccineinfo, which is YouTube’s own channel with 31.4 million followers. There are 16 videos so far with different “Because” themes, including first visits, dance parties, victory cheers, and grandkids. They include various clips before ending on a “Get back to what you love” tagline, which was also used for a Search ad, that features a red band-aid and links to the channel. The YouTube COVID-19 vaccine PSAs will come to other countries in the coming weeks to “coincide with the local vaccine availability timelines.” Source: YouTube launches COVID-19 vaccine online and TV PSAs, focusing on Americans ages 18-34
  12. YouTube Won’t Let “Bogus DMCA” Plaintiff Pirate Monitor Off The Hook Last month, Pirate Monitor withdrew from a class action copyright lawsuit against YouTube after the video platform discovered the entity had uploaded its own content in order to allege infringement. However, YouTube insists there is unfinished business and is demanding that Pirate Monitor and its film director operator stop their shenanigans and hand over evidence. Last year, Grammy award-winning musician Maria Schneider teamed up with an unknown entity called Pirate Monitor to file a class action lawsuit against YouTube. Both alleged mass infringement of their copyright works and serious deficiencies in YouTube’s copyright enforcement measures. As reported earlier this week, YouTube is insisting that Schneider positively identify actual infringements on the platform so it can mount a defense. However, the musician’s lawyers say that to identify the full scale of infringement on the platform, Schneider would need access to YouTube’s Content ID system – something YouTube refuses to grant, a matter that lies at the core of Schneider’s complaint. The Shadowy Pirate Monitor From the very first day the class action lawsuit was filed, questions were raised – not about Schneider herself – but the decision to team up with an entity known only as Pirate Monitor. In-depth searches online revealed nothing to explain who or what lay behind this ‘company’ but as the lawsuit progressed, information came to light that suggested something was amiss. And in September 2020, via a counterclaim, YouTube dropped the bombshell. According to YouTube’s research, the only ‘piracy’ being suffered by Pirate Monitor on the video platform was entirely of its own making. YouTube said that while Pirate Monitor’s lawsuit claimed that YouTube users were infringing its copyrights by uploading and sharing its content, Pirate Monitor and its proxies had uploaded their own movie clips to YouTube and then filed takedown notices to have that content removed. “Through agents using pseudonyms to hide their identities, Pirate Monitor uploaded some two thousand videos to YouTube, each time representing that the content did not infringe anyone’s copyright. Shortly thereafter, Pirate Monitor invoked the notice-and-takedown provisions of the Digital Millennium Copyright Act to demand that YouTube remove the same videos its agents had just uploaded,” YouTube explained. With seemingly devastating evidence in hand, YouTube went further still in February this year, naming Hungarian film director and California resident Gábor Csupó (who previously worked on The Simpsons, Rugrats, Duckman, Stressed Eric, and Aaahh!!! Real Monsters) as the person presiding over Pirate Monitor. Or, as YouTube described it, an “inadequately capitalized shell corporation” that “disregards corporate formalities”. With Csupó having been identified and then held personally liable by YouTube for the DMCA “fraud” being committed against the Google-owned platform, Pirate Monitor decided to voluntarily dismiss its case against YouTube last month, leaving Schneider to go it alone. Perhaps unfortunately for Csupó, YouTube is nowhere near finished and doesn’t intend to let this lie. Court Should Address Pirate Monitor’s Discovery Obligations In a motion to compel filed this week, YouTube informed the court that the parties had met by telephone five times and conferred through a dozen letters between November 2020 and February 2021 regarding Pirate Monitor’s objections and responses to YouTube’s counterclaim discovery requests. To date, however, Pirate Monitor has not produced a single document. “Pirate Monitor filed this copyright infringement case together with Maria Schneider on behalf of a putative class in July 2020. After admitting that it did not actually own at least one of the three copyrights that it had asserted in the case, and after YouTube showed that Pirate Monitor had engineered a wide-ranging fraud, Pirate Monitor dismissed its affirmative case with prejudice on March 8, 2021,” YouTube’s motion reads. “YouTube, however, still has counterclaims against Pirate Monitor and its sole stockholder, Gábor Csupó. YouTube charges them with the mass transmission of bogus DMCA takedown notices as part of a scheme to obtain access to YouTube’s proprietary copyright management tools.” YouTube says it is seeking in excess of $20,000 in investigative and remediation expenses, mandatory costs and attorney’s fees, punitive damages, and an injunction to prevent further abuse by Pirate Monitor. However, in order to compile those claims, it needs Pirate Monitor to comply with its discovery demands. They require Pirate Monitor to provide information on Csupó and his alter egos including Pirate Monitor LLC, a supposed corporate entity that YouTube says simply does not exist. Homing in On Pirate Monitor’s Agents and Upload Authority In earlier filings, YouTube alleged that Csupó had hired foreign nationals in Pakistan to upload content to YouTube (content that was later taken down using the DMCA), thereby masking his own involvement in the scheme. YouTube wants Pirate Monitor and Csupó to provide documents that reveal their employees and agents, and the communications that were carried out between them. Thus far, nothing has been handed over. YouTube also demands access to documents relating to Pirate Monitor’s authority to upload videos to YouTube, since this is key to determining whether Pirate Monitor’s videos infringed copyright. According to YouTube, Pirate Monitor can’t make up its mind, stating at various points that they did and then did not infringe copyright. Pirate Monitor’s Discovery Shenanigans YouTube notes that despite filing the original lawsuit, Pirate Monitor is yet to produce a single document in support of it. After YouTube notified the entity that it intended to file this motion, Pirate Monitor said that some sort of production would begin this week but according to YouTube, even that is subject to “all manner of impenetrable caveats and limitations.” For example, Pirate Monitor says it is only obliged to hand over documents that were created while Csupó was acting as its agent but that covers the period post-January 2020 and the conduct underlying YouTube’s counterclaims took place before that. Even then, Pirate Monitor says that it will only hand over information that pre-dates Csupó’s interest in the entity provided it exists “in the documents we collected.” Further muddying the waters is the claim from Pirate Monitor that while there may be documents to hand over in period before Csupó’s custody, the entity doesn’t know of any other “potential custodians” beyond Csupó and one other agent that worked for the ‘company’ in a limited capacity, “Because of statements like these, even after six months and a dozen calls and letters, YouTube has no idea what Pirate Monitor will be producing, assuming its production ever commences,” YouTube informs the court. Pirate Monitor: Discovery Would Incur Disproportionate Costs In an effort to stave off the discovery demands, Pirate Monitor reportedly informed YouTube that the costs would be disproportionate, between $100,000 and $500,000 based on the collection of evidence from ten ‘custodians’. YouTube says that this cannot be the case, since Pirate Monitor itself has stated that it only has one, possibly two custodians. After YouTube pointed this out, Pirate Monitor put forth a revised amount of $55,900 but did not address the clear discrepancies in its accounts. “YouTube has no idea where or how Pirate Monitor keeps its documents, but a targeted and reasonable collection of the categories of documents YouTube seeks should not cost close to what Pirate Monitor imagines,” the company writes. It’s perhaps worth highlighting at this juncture that as part of the same lawsuit, Maria Schneider is currently demanding that YouTube identifies every single YouTube user that has had an infringement notice filed against their accounts since 2015. Reiterating its calls to receive substantial punitive damages for Pirate Monitor’s fraud and litigation conduct, YouTube is asking the court to compel the entity to hand over the documents requested within ten calendar days. YouTube’s discovery letter brief can be found here (pdf) YouTube Won’t Let “Bogus DMCA” Plaintiff Pirate Monitor Off The Hook
  13. YouTube makes it easier to save on data with new video resolution options ‘Higher picture quality’ and ‘data saver’ settings Illustration by Alex Castro / The Verge The YouTube mobile app for iOS and Android now has new video settings that might make it a bit easier to save on data while watching video on the go (via MacRumors). Along with specific resolutions in the video player, you can now toggle between three separate modes that either favor video quality, data use, or whatever works best for your current internet connection. You might already be familiar with “auto” mode as the default setting for most videos, which automatically adjusts video resolution depending on your current internet speed to give the best experience. YouTube’s new additions are the “higher picture quality” mode, which uses more data when not on Wi-Fi and defaults to 720p, and a “data saver” mode that maxes out at 480p. YouTube’s new video settings include options for “higher picture quality” and “data saver.” While these umbrella modes are good for quick scenario-specific adjustments to resolution, you can still dig in and get granular with specific resolutions. And any resolution adjustments can be set for the specific video you’re watching or system-wide for everything you watch, with specific behaviors for Wi-Fi and mobile networks. YouTube has had resolution settings and ways to keep the app from downloading / streaming HD videos for a while, but this automates the data-saving process and reframes it in a way that’s easier to understand. Video settings can also be applied system-wide, with separate behavior for mobile and Wi-Fi. In an ideal world, none of this would matter and you could just watch high-resolution cooking videos (my preferred YouTube zone-out material of choice) to your heart’s content. But even on “unlimited” plans, most mobile carriers still cap video resolution at 480p. Videos watched at higher resolutions typically count against some kind of premium data allotment or other terrible carrier jargon and hit you where it hurts — in your monthly bill. YouTube’s new video settings aren’t a magic bullet solution, but they make it easier to switch to a carrier-acceptable resolution without having to think about it. And when all my brain wants is ASMR donut videos, that certainly helps. Source: YouTube makes it easier to save on data with new video resolution options
  14. YouTube is now building its own video-transcoding chips Google throws custom silicon at YouTube's massive video-transcoding workload. Enlarge / A Google Argos VCU. It transcodes video very quickly. Google has decided that YouTube is such a huge transcoding workload that it needs to build its own server chips. The company detailed its new "Argos" chips in a YouTube blog post, a CNET interview, and in a paper for ASPLOS, the Architectural Support for Programming Languages and Operating Systems Conference. Just as there are GPUs for graphics workloads and Google's TPU (Tensor processing unit) for AI workloads, the YouTube infrastructure team says it has created the "VCU" or "Video (trans)Coding Unit," which helps YouTube transcode a single video into over a dozen versions that it needs to provide a smooth, bandwidth-efficient, profitable video site. Google's Jeff Calow said the Argos chip has brought "up to 20-33x improvements in compute efficiency compared to our previous optimized system, which was running software on traditional servers." The VCU package is a full-length PCI-E card and looks a lot like a graphics card. A board has two Argos ASIC chips buried under a gigantic, passively cooled aluminum heat sink. There's even what looks like an 8-pin power connector on the end, because PCI-E just isn't enough power. Google also provided a lovely chip diagram, listing 10 "encoder cores" on each chip, with Google's white paper adding that "all other elements are off-the-shelf IP blocks." Google says that "each encoder core can encode 2160p in realtime, up to 60 FPS (frames per second) using three reference frames." The cards are specifically designed to slot into Google's warehouse-scale computing system. Each compute cluster in YouTube's system will have a section of dedicated "VCU machines" loaded with the new cards, saving Google from having to crack open every server and load it with a new card. Google says the cards resemble GPUs because that's what fits in its existing accelerator trays. CNET reports that "thousands of the chips are running in Google data centers right now" and, thanks to the cards, individual video workloads like 4K video "can be available to watch in hours instead of the days it previously took." Even when you factor in R&D on the chips, Google says this VCU plan will save it a ton of money, even provided the above benchmark showing TCO (Total cost of ownership) of the setup compared to running its algorithm on Intel Skylake chips and Nvidia T4 Tensor core GPUs. Google's benchmark and cost-of-ownership table from the white paper. YouTube’s unfathomably large transcoding problem As the world's biggest video site, keeping YouTube running was originally considered an impossible task until Google bought the company in 2006. Since then, Google has aggressively fought to keep the site's cost down, often reinventing Internet infrastructure and copyright in order to make it happen. Today, the primary infrastructure problem YouTube needs to solve for end-users is providing a video that works just right for your device and bandwidth while maintaining quality. That means using a codec that is supported by your device and picking a resolution that matches your display (and not blowing up your Internet connection with a massive file). For Google, that means transcoding a single video into a lot of other videos. You can see part of this work yourself just by clicking on the gear for an 8K video, where you'll see nine total resolutions created from a single upload: 144p, 240p, 360p, 480p, 720p, 1080p, 1440p, 2160p, and 4320p. These are all different video files, and every one needs to be created from the original 8K uploaded file—and keep in mind this is just for your specific device. Google also needs to offer some of those nine resolutions in multiple codecs, which basically dictates how the video is compressed on its way over the Internet. The company wants to offer videos in the most advanced, efficient codec available to save on bandwidth costs, which are a massive part of YouTube's costs. Decoding a video codec gobbles up processing power, though, and on cheaper mobile devices, it's not going to happen smoothly and efficiently without dedicated hardware acceleration support for each new codec. That means Google only gets to use the best codecs on new devices, and it needs to keep copies of the video around in older codecs for older devices. Today modern devices usually get the efficient VP9 codec, while the more compatible H.264 is kept around for devices that aren't on the cutting edge. No one truly knows the depths of YouTube's video codec selection, but the site also generally supports devices going back almost 10 years, including "low-resolution flip phones," according to the ASPLOS paper. So there are some pre-H.264 codecs in there for ancient devices, like 3GP. Enlarge / A labeled die shot of an Argos chip. Google's YouTube computing challenge becomes even more unfathomable in scope when you consider that codecs are continually being pushed forward, and again, with bandwidth being such a huge cost of running the site, it benefits Google to push for and upgrade to these new codecs as soon as possible. Upgrading to a new codec means transcoding every video (or at least a majority of them) to the hot new codec, and, oh yeah, this needs to happen every few years for each new codec. How many videos do you think are on YouTube? Google probably only provides stats about growth (like "500 hours of video are uploaded to YouTube every minute") because the total number of videos is so large it is an unknowable amount. And that's not even counting YouTube Live (imagine all of this transcoding happening live, within a 100 ms delay) and the additional workloads from Drive and Google Photos. Google has literally the biggest transcoding job on Earth. Codecs are so important to YouTube's success that Google actually takes a lead in developing them. In 2009, Google bought codec developer On2 Technologies (the company that provided the VP6 codec used in Flash video, which powered YouTube at the time), and since then the company has been a major codec developer. After pushing out and upgrading to VP8 and VP9, Google's next codec (now created through an industry coalition) is "AV1," which it hopes will someday hit a wide rollout. Regarding AV1, Calow told the YouTube blog, "One of the things about this is that it wasn't a one-off program. It was always intended to have multiple generations of the chip with tuning of the systems in between. And one of the key things that we're doing in the next-generation chip is adding in AV1, a new advanced coding standard that compresses more efficiently than VP9, and has an even higher computation load to encode." AV1 is experimentally available on YouTube and several other video sites, but mass usage is currently held up by client support. According to CNET, these second-generation chips are already being phased into Google's server farms. Source: YouTube is now building its own video-transcoding chips
  15. YouTube Class Action: Plaintiff Can’t Identify Piracy Without Access to Content ID Maria Schneider's class action lawsuit against YouTube has taken another unusual turn. The complaint alleges massive infringement but thus far identifies no infringing videos. YouTube wants to know exactly what it's dealing with but Schneider says that since she has no access to Content ID - a big part of why the complaint was originally filed - she can't easily provide that information. In 2020, Grammy award-winning musician Maria Schneider filed a class action lawsuit against YouTube, claiming massive infringement on the platform and serious deficiencies in copyright enforcement measures. Schneider’s grievances are numerous, including that YouTube restricts access to its takedown tools, profits from infringement, and fails to terminate repeat infringers. Furthermore, since 98% of YouTube copyright issues are reportedly resolved with Content ID, Schneider says that YouTube has “entirely insulated” huge numbers of users from its repeat infringer policies. The case thus far is notable for its oddities, including that co-plaintiff Pirate Monitor claimed that many of its copyrighted works had appeared on YouTube in breach of copyright but was later said to have uploaded those works itself before sending corresponding takedown notices. Earlier this month the matter took another unusual turn when Schneider asked the court to order YouTube to hand over masses of information that would allow her to identify every user that had had a takedown notice filed against their account since 2015, to determine whether YouTube’s repeat infringer policies come up to scratch. YouTube: Schneider Needs to Clarify Her Claims While Schneider alleges massive infringement on YouTube, the Google-owned platform is now complaining that Schneider’s claims are unspecific. YouTube insists that Schneider should identify the copyrighted works she is complaining about and where infringements have taken place on YouTube, so that it has a “fair opportunity” to look into every single claim. However, YouTube says that since Schneider is refusing to agree to a deadline or even acknowledge this dispute, it is now seeking relief from the court. “Schneider’s Complaint alleges she owns three copyrighted works that were infringed on YouTube. It does not identify a single YouTube video that she claims is infringing. Instead, Schneider contends that her potential copyright claims against YouTube are boundless. She insists that she is allowed to put at issue dozens of unpleaded works and allegedly infringing videos, and that she can do so whenever she wants,” YouTube informs the court. “Plaintiff’s approach is misguided. Defendants need to know, sufficiently before the end of discovery, the full universe of copyrighted works and alleged infringements at issue. Without that information, Defendants will be unable to take discovery to support their defenses, most of which are necessarily work- or video-specific.” As background, YouTube says that in interrogatory response, Schneider has thus far purported to add 75 more works to the case, but hasn’t amended her complaint. The musician also agreed to identify all currently known infringements. These reportedly amounted to 51 videos but they only involved 24 works – a “moving target” according to YouTube. “For most of the works that Schneider has not pleaded but contends are at issue, no infringement has been identified,” the video platform adds. With that, YouTube demands that Schneider amends her complaint to identify the copyrighted works and all instances of infringement of those works on YouTube. Schneider, it appears, does not want to play ball. Schneider: No Obligation to Detail Infringed All Infringed Works In a response to YouTube’s motion, Schneider states that YouTube is wrong to say that the allegedly infringed works must be identified. “A plaintiff in a copyright infringement action has no obligation to include in the complaint a complete listing of all of the works at issue,” her response to the motion reads, noting that since 75 such works were supplied to YouTube back in March, “there can be no debate that Defendants are on notice about what works are involved in the dispute.” But Schneider goes further still, arguing that case law shows that “plaintiffs are not required to specify each and every instance of infringement” including the “who, what, where, when and why.” Describing YouTube’s deadline to detail instances of infringement as “invented” and lacking in legal support, Schneider says that an issue at the very core of her complaint (YouTube’s refusal to grant her with access to Content ID) renders any deadline both “unfair and impractical”. “To even attempt to identify every infringement, Plaintiff would have to constantly search for infringing videos using manual keyword searches that hit upon the specific words chosen by the uploading infringer. Such an endeavor would be futile and unduly burdensome,” her response reads. “Absent access to Content ID, Defendants’ digital fingerprinting tool which automatically scans for infringing videos prior to upload, Plaintiff cannot meaningfully search for or identify the infringing videos. But Defendants easily can. “Defendants’ position that Plaintiff must identify the URL of all infringing videos is thus the height of irony — the impossibility of manually locating all instances of infringement of her works without access to Content ID motivated this lawsuit.” While Schneider does not directly demand access to Content ID to comply with YouTube’s deadline, her motion strongly suggests that the task could easily be achieved by YouTube, since it has access to Content ID. To force her to identify all of the infringing videos manually prior to the close of discovery “would be patently unfair” she argues, adding that the court should deny YouTube’s motion in its entirety. YouTube’s motion to set a case schedule and Schneider’s response can be found here and here (pdf) YouTube Class Action: Plaintiff Can’t Identify Piracy Without Access to Content ID
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  17. YouTube Class Action Lawsuit Wants to Identify Every ‘Pirate’ Uploader Since 2015 Grammy award-winning musician Maria Schneider wants a court to order YouTube to hand over huge amounts of data relating to copyright infringement on the platform. In summary, Schneider wants to identify all users who had a takedown notice filed against their account since 2015 to determine whether YouTube's repeat infringer policies come up to scratch. Last summer, Grammy award-winning musician Maria Schneider filed a class action lawsuit against YouTube, claiming massive deficiencies in its copyright enforcement measures. Schneider claims that YouTube restricts access to its takedown tools, profits from infringement, and fails to terminate repeat infringers. Noting that 98% of YouTube copyright issues are resolved with Content ID, Schneider says that YouTube has “entirely insulated” huge numbers of users from its repeat infringer policies. “This two-tiered system essentially trains YouTube’s billions of uploading users that there is essentially minimal risk to uploading to their hearts’ content,” the complaint reads. As previously reported, Schneider was joined in the class action by a company called Pirate Monitor, which alleged that many of its copyrighted works appeared on YouTube in breach of copyright. YouTube, however, claims that the company itself uploaded those works before sending its own takedown notices. Lawsuit Claims That Content ID Should Not Shield Repeat Infringers Determined to show that YouTube’s approach to copyright enforcement is lacking, Schneider’s legal team is demanding that the video platform hands over information about infringement on the platform. This should include information about actions carried out under Content ID and following regular takedown notices. “Both elements of this two-tiered system are relevant to the claims here including because of their role in establishing whether Defendants should be prohibited from taking advantage of safe harbors against copyright liability granted by the Digital Millennium Copyright Act of 1998, 17 U.S.C. § 512 (‘DMCA’),” a new filing from Schneider reads. “Those safe harbors are not available absent ‘a policy that provides for the termination in appropriate circumstances of’ uploaders ‘who are repeat infringers’.” The issue of how Internet services deal with repeat infringers is a thorny one that can lead to huge damages awards, as illustrated by the $1 billion award in the RIAA’s lawsuit against Cox Communications. Schneider’s lawsuit aims to show that YouTube is negligent too, since infringements dealt with under Content ID do not result in action against uploaders’ accounts. “Infringement caught by Content ID is excluded entirely. Defendants’ failure to assess penalties, including copyright strikes and termination for these repeat infringers: (i) fails to satisfy the reasonableness requirement to track and terminate repeat infringers as required for the safe harbors; (ii) encourages and incentivizes users to continue posting infringing content; and (iii) creates the constructive (if not actual) knowledge of infringement that is an independent basis to deny access to the DMCA safe harbors,” the filing reads. Lawsuit Demands Massive Access to YouTube Infringement Records To show the scale of infringement on YouTube (and YouTube’s alleged failure to properly deal with repeat infringers), Schneider is demanding that YouTube hands over large amounts of data. Precisely how large remains to be seen but describing the request as ‘broad’ is likely to underestimate the request. In summary, Schneider initially asked YouTube to provide copies of every single takedown notice filed with the platform. That request was rejected, with YouTube instead agreeing to only hand over notices filed by the plaintiffs, claiming that beyond that would amount to a huge burden, even if it had the information in a deliverable format. In what appears to be a counteroffer, Schneider narrowed her demands – but not by much. She now wants YouTube to identify EVERY person that has filed a copyright takedown notice since January 1, 2015. That information should include information such as dates, the works allegedly infringed, and the URL of the targeted content. Schneider also wants the details of EVERY YouTube user targeted by these takedown notices including their account names, email addresses, and IP addresses used to upload the content targeted by the notices. Schneider further demands a full accounting by YouTube detailing all steps taken to resolve every takedown notice, any evidence the platform holds on registrations of copyright works listed in notices, the outcome in every case, and whether YouTube still holds copies of the works listed in notices. YouTube Refuses to Play Ball YouTube appears to be less than impressed with Schneider’s demands. Indeed, according to Friday’s filing, the Google-owned platform is only prepared to hand over one month’s worth of takedown notices but according to Schneider, that “ignores the purpose and need of this discovery and thus is not a meaningful compromise.” Indeed, in its responses to Schneider’s requests for information, YouTube describes the demands as “overly broad” and “unduly burdensome” almost three dozen times. Whether the judge will agree with that position remains to be seen. The discovery brief can be found here (pdf) YouTube Class Action Lawsuit Wants to Identify Every ‘Pirate’ Uploader Since 2015
  18. YouTube Rolls Out Upload Filters as a Feature, Not an EU Requirement The new EU Copyright Directive, which was passed in 2019 despite widespread criticism, heralded in the prospect of upload filters to ensure that, where possible, infringing content does not appear on online services. But what if upload filters were promoted not as a hindrance, but as a helpful feature for content creators? In this respect, YouTube may already have your back. In 2016, the European Commission announced plans to modernize EU copyright law. Article 13 of the new Copyright Directive, which was later renamed Article 17, raised alarm bells around the world. If adopted, many online services would be required to license content from copyright holders and where that was not possible, content would have to be automatically removed and not re-uploaded. The passing of the Copyright Directive in March 2019 made Article 17 a pending legal requirement along with the prospect of “upload filters” – mechanisms that aim to prevent infringing content appearing online at all. However, the question of how this type of system will be implemented in practice remains largely unanswered and after the European Commission launched a public consultation last July, it was clear that the debate rages on. Broadly speaking, copyright holders would prefer all contentious content to be removed immediately and only put back when it turns out to be legitimate. Opponents of filtering believe that the balance should shift the other way, with only “manifestly infringing” content being disappeared and everything below that threshold being subjected to human review. YouTube Has Always Been Central To The ‘Filter’ Debate Copyright holders, especially those in the music industry, have always been critical of YouTube and its millions of users who sometimes upload allegedly-infringing content. YouTube insists it is ahead of the curve here, investing more than $100m in its Content ID system that recognizes infringing content and deals with the vast majority of claims, allowing monetization or delisting, as required by rightsholders. However, Content ID only kicks in after users upload their videos, meaning that it is possible for allegedly-infringing content to appear on the platform for a while. If timing is a key factor, this isn’t a proactive step at the upload stage, i.e it doesn’t prevent content from appearing on YouTube, so isn’t an “upload filter” per se. But what if the timing of Content ID was switched around, so that instead of checks being made after the content appears on YouTube, they were made during the upload process? Would that constitute an upload filter? Probably. However, according to a relatively quiet announcement by YouTube, this type of process (one that has been widely feared by YouTube users) can be viewed in a more positive light. YouTube Announces YouTube “Checks” This week YouTube revealed that a new feature had been added to the “Upload flow” on desktop. Named “Checks”, the system is described as a tool to automatically screen uploads for potential copyright claims and ad suitability restrictions before publishing, to the benefit of YouTube users. “This new step will help you minimize the number of videos uploaded with copyright claims and/or yellow icons and avoid surprises or worries,” YouTube Community Manager ‘Sarah’ explained. The way “Checks” works is simple. During the upload process, users are given an option to have their videos scanned for issues, presumably with the assistance of Content ID. The checks for copyright compliance reportedly take place within a three-minute window while monetization checks can take a couple of minutes longer. “You can use the checks page to screen your video for copyright claims and if you’re in the YouTube Partner Program, ad suitability. The Copyright check allows you to dispute a claim or edit and fix your video if issues are found,” YouTube’s Help Center article reads. In other words, the “Checks” feature acts as a pre-publishing screening tool, one that spots copyright issues in advance of content appearing on YouTube, in a similar way that an “upload filter” might. While YouTube didn’t make any big announcements, the rollout didn’t go unnoticed. At the moment, YouTube users are still able to publish content to YouTube before these checks are completed but when that’s the case, any issues found cannot be fixed and will be dealt with later, potentially to the detriment of the uploader. Filtering is a Feature, Not a Restriction While one of the clear aims is to prevent potentially infringing content appearing on YouTube, “Checks” is being promoted more as a tool to assist uploaders rather than copyright holders. Not only will users be able to see if a copyright holder objects to their content before it is published, in theory they should be able to avoid demonetization and strikes too. The tool will provide advance warning of which parts of a video are likely to trigger an issue, so that uploaders can go away and make the necessary changes to their videos before attempting to publish. This doesn’t mean they won’t get copyright claimed later on but the idea is that overall claims should be reduced. Checks and Review One of the key fears concerning upload filters is that automatic systems don’t always have the ability to determine when copyrighted content has been used in a legal way, so-called fair use. YouTube “Checks” doesn’t seem to get any closer to solving that problem. When a copyright clash is found in an uploaded video, the “Checks” system will allow the uploader to either carry out edits or dispute the claim. YouTube doesn’t go into much detail here but it sounds like uploaders will have to state their position and ask for some kind of permission to go ahead, in order to avoid a claim moving forward. Human review for copyright claims isn’t touted as one of the features but YouTube says that its staff will look over issues that arise in respect of its ad suitability check, if users think its “systems made a mistake.” YouTube Rolls Out Upload Filters as a Feature, Not an EU Requirement
  19. Chrome extension turns on YouTube captions when eating noisy chips A new AI-powered Google Chrome extension will automatically turn on YouTube extensions if it detects you are eating noisy chips. I doubt few people have not experienced hearing a movie, TV show, or video while someone next to you is loudly eating chips. To make it easier to watch YouTube videos, creative agency Happiness Saigon partnered with Frito-Lay to create the 'Lay's Crispy Subtitles' browser extension that automatically enables YouTube captions when it detects you are eating chips. To achieve this, Happiness Saigon trained an AI algorithm using 178 hours of recording people eating chips from all over the world. BleepingComputer tried out the extension and was pleasantly surprised by how the extension immediately turned on YouTube captions when our microphone picked up the noisy sound of eating chips. YouTube watchers will know when the Lay's Crispy Subtitles extension is at work as it will also briefly display the extension logo in the top right corner of a video when it activates captions, as shown below. Lay's Crispy Subtitles auto-enabling captions BleepingComputer performed some tests with other food groups, such as peanuts, carrots, and cereal. While peanuts and carrots were not noisy enough or crunchy enough, eating cereal also enabled captions in our tests to see what would trigger the extension. However, your results may vary depending on how noisily you eat your food. Chrome extension turns on YouTube captions when eating noisy chips
  20. iTubeGo YouTube Downloader – is a powerful downloader tool allows you save video and audio for free. The high-speed converter output format is high-quality MP4, MP3. Fully compatible with iPhone, iPad, iTunes, iMovie, Android Phone and more. Features • Download Videos From 1000+ Sites • Download 4K & Full HD Video • 1-Click to Download YouTube Playlist • Support Multi-Task Download • Download Music as MP3 • Convert Video to MP3 • Download Multiple Video/Audio in Bulk • Manage All Downloaded Media Download: 64 Bit: Site: https://upload.ee Sharecode: /files/12936691/iTubeGo.YouTube.Downloader.4.3.x64.zip.html 32 Bit: Site: https://upload.ee Sharecode: /files/12936696/iTubeGo.YouTube.Downloader.4.3.x32.zip.html
  21. YouTube Identifies Operator of “Shell Company” Behind Class Action Piracy Lawsuit A class-action lawsuit filed by musician Maria Schneider and Pirate Monitor claims that YouTube restricts access to takedown tools and fails to act against repeat infringers. However, YouTube is steadily picking the case apart, including by identifying the operator of a "shell company" plaintiff whose earlier work will be familiar to fans of The Simpsons. Last summer, Grammy award-winning musician Maria Schneider and entity calling itself ‘Pirate Monitor’ filed a class action lawsuit against YouTube. They accused YouTube of failing in its copyright responsibilities by denying smaller artists from accessing its takedown tools (Content ID), failing to terminate repeat infringers, and profiting from piracy. YouTube was not impressed. In an early fightback, YouTube said that Pirate Monitor and/or its agents had opened bogus YouTube accounts to upload its own videos and then filed takedown notices against the same content claiming that its rights had been infringed. This, YouTube said, was a ploy to gain access to its Content ID system after Pirate Monitor had been previously denied. Case Management Statement Piled Pressure on Pirate Monitor Early January there were signs that the claims against YouTube were starting to unravel. YouTube said that there was no legal basis to allow Pirate Monitor to access Content ID and Schneider already has access to Content ID through her publishing agent, who had used it for years on her behalf. Furthermore, YouTube added that the original complaint failed to allege even a “single instance of infringement” for Schneider’s works and in any event, Schneider’s publishing agent had already granted YouTube a license to use all of her musical works, effectively negating all copyright claims. With arguments over discovery continuing, YouTube has now amended its counterclaim. The additional details appear to undermine the case against Pirate Monitor further still, with allegations that the company and its operator are behind an elaborate and unlawful scheme to manipulate YouTube to support a lawsuit. Amended Counterclaim – More Meat On The Bones Right off the bat, YouTube identifies the person it believes is behind Pirate Monitor Ltd/Pirate Monitor LLC – Hungarian film director and California resident Gábor Csupó. While not mentioned in YouTube’s filing, information online indicates that Csupó is the founder of animation studio Klasky Csupo, which produced shows like Rugrats, Duckman, Stressed Eric, and Aaahh!!! Real Monsters. Klasky Csupo also animated The Simpsons cartoons that first appeared on The Tracey Ullman Show. The company continued its involvement in The Simpsons for its first two seasons. YouTube says that Pirate Monitor is refusing to cooperate with discovery but it has managed to determine that Pirate Monitor has no employees other than Csupó, who presides over an “inadequately capitalized shell corporation” that “disregards corporate formalities” and was set up for the purposes of the action against YouTube. “Csupó created Pirate Monitor LTD after his personal liability for the acts alleged herein first arose, and his misuse of the corporate form is continuing. As a result, Csupó is responsible, and personally liable for, not only his own actions, but the acts of Pirate Monitor LTD as well,” YouTube writes. According to YouTube, Pirate Monitor, Csupó and/or their agents opened YouTube accounts using bogus account information to upload videos. YouTube says this was done to mask the fact that those who subsequently filed copyright complaints to have the same content taken down were acting in concert. YouTube identifies two dozen accounts (all with Gmail addresses including the phrase ‘ransomnova’) that were created via an IP address in Pakistan and used to upload videos listed in the original complaint. At the time, YouTube says it was unaware of the connection between Pirate Monitor, Csupó, and the ‘Ransomnova’ accounts, so when it received around 1,800 DMCA takedown notices from Pirate Monitor and Csupó, it took the necessary action to remove the allegedly-infringing videos. It appears they were effectively taking down their own content, ostensibly to gain access to YouTube’s Content ID system. Pirate Monitor Not Responding to Discovery Requests YouTube says that Pirate Monitor and Csupó are in possession of information that would reveal their “unlawful scheme” but to date has refused to provide anything in response to discovery requests. “While withholding from YouTube all relevant information they possess, Pirate Monitor and Csupó have never denied that they and/or their agents were responsible for creating the Ransom Nova accounts. They have never denied that they and/or their agents uploaded through those accounts the very same videos that they then promptly claimed in DMCA takedown notices were infringing,” YouTube informs the court. But even without cooperation, YouTube says it already has “overwhelming evidence” that Pirate Monitor and Csupó operated the accounts, either directly or indirectly. YouTube says that the clips uploaded were mostly 31 seconds long and did not correspond to particular moments from the films they came from. Furthermore, they were given nondescript names, suggesting that the uploader didn’t intend regular YouTube users to find them. Nevertheless, Pirate Monitor and Csupó did manage to find them, and sent takedown notices within a few days of the uploads, despite many of the videos failing to clock up even a single view on YouTube. “In other words, Pirate Monitor and Csupó knew that the videos for which they sent takedown notices were on the YouTube service without having to actually view them. That is because Pirate Monitor and Csupó were responsible for having uploaded those videos in the first place,” YouTube notes. An Even More Significant Smoking Gun YouTube alleges that when Pirate Monitor, Csupó and/or their agents uploaded supposedly infringing videos to YouTube, they attempted to conceal their identities by uploading from a Pakistani IP address. However, when taking that same content down, they had no reason to do so, sending DMCA takedown notices from a Hungarian IP address. Then, on November 12, 2019, YouTube says that someone logged into one of the Ransom Nova accounts – not from the usual Pakistani IP address – but from the same Hungarian IP address used to send the takedown notices. “In other words, RansomNova7 was sharing a computer and/or unique Internet connection with Pirate Monitor and Csupó in Hungary on the same day (and in fact, at almost the same time) that Pirate Monitor and Csupó were using that same computer and/or Internet connection to send takedown notices to YouTube,” the company alleges. This allegation is not new but YouTube now goes further by naming the individual behind the ‘RansomNova’ accounts. Based on email address information supplied to YouTube, the platform was able to identify Sarfraz Arshad Khan, a resident of Pakistan who advertises himself as a computer services freelancer with expertise in the promotion of content on YouTube. Khan’s LinkedIn profile is posted under the name ‘Ransom Nova’ and YouTube believes he was hired by Pirate Monitor and Csupó to upload the ‘pirate’ videos which were later taken down based on allegations that they infringed copyright. Prayer For Relief Based on the above, YouTube demands damages against Pirate Monitor LTD, Pirate Monitor LLC, and Gábor Csupó to compensate YouTube for the harm caused by their conduct. YouTube also requests damages against the same for acting fraudulently and requests an injunction to prevent any similar behavior moving forward. YouTube’s amended counterclaim can be found here (pdf) YouTube Identifies Operator of “Shell Company” Behind Class Action Piracy Lawsuit
  22. ‘Never Gonna Give You Up’ in 4K Is an Eye-Melting Way to Rickroll Someone As powerful workstations slowly but surely work to remaster all the world’s old film and video footage to higher resolutions and frame rates using machine learning techniques, you’d assume that one piece of footage would have been a top priority. But apparently Rick Astley’s “Never Gonna Give You Up” music video has only just been given the 4K, 60 FPS upgrade, and your eyes may never forgive you. Watching the original music video again, which boasts a respectable 871,696,897 views on YouTube at the time of writing, it looks like “Never Gonna Give You Up” was shot on professional-grade video tape, presumably Sony’s Betacam format, giving it that recognizable ‘80s video look. The remastered version, which was created using Topaz Video Enhance AI to boost the resolution to 4K and the Flowframes video interpolation tool to boost the frame rate to 60 frames per second, looks like it was filmed on a modern smartphone just yesterday. We now have the ability to Rickroll someone so that they’re not only inconvenienced, but also feel like they’re actually on set with Astley while this video was being shot. Astley may never desert you, but your eyes will want to. Source: ‘Never Gonna Give You Up’ in 4K Is an Eye-Melting Way to Rickroll Someone
  23. Requires: 4.4+ NewPipe does not use any Google framework libraries, nor the YouTube API. Websites are only parsed to fetch required info, so this app can be used on devices without Google services installed. Also, you don't need a YouTube account to use NewPipe, which is copylefted libre software. Features Search videos Display general info about videos Watch YouTube videos Listen to YouTube videos Popup mode (floating player) Select streaming player to watch video with Download videos Download audio only Open a video in Kodi Show next/related videos Search YouTube in a specific language Watch/Block age restricted material Display general info about channels Search channels Watch videos from a channel Orbot/Tor support (not yet directly) 1080p/2K/4K support View history Subscribe to channels Search history Search/watch playlists Watch as enqueued playlists Enqueue videos Local playlists Subtitles Livestream support Show comments Supported Services NewPipe supports multiple services. Our docs provide more info on how a new service can be added to the app and the extractor. Please get in touch with us if you intend to add a new one. Currently supported services are: YouTube SoundCloud [beta] media.ccc.de [beta] PeerTube instances [beta] Changes: v0.20.10 New [YouTube] Added support for chapters in player controls #5274 Added a secondary control panel and tabs to video detail fragment #4534 #5563 [PeerTube] Added sepia search #5257 Improved Disable restoring brightness if brightness gesture is disabled #5283 Update displayed licenses #5066 Disable sending metrics to Google when using Android System WebView #5337 Toggle play/pause with hardware space button in fullscreen player #5331 Add list item to play video on kodi #5310 VideoDetailFragment: Don't exit fullscreen on rotation in tablet UI #4939 Updated invidious instances list #5480 Reduce API requests for NewPipe update checks #5474 Fixed Fixed URLs with timestamps not being played #5317 Fixed null pointer exception in play button method #5301 Dynamically get package name, fixing issues with multiple NewPipes installed #5221 Fixed wrong speed indicator in queue activity #5371 Fixed crash when no default browser is set and improve share dialogs (on some devices) #5187 #5429 #5466 Development Merge player classes into a single one #5371 #5502 Use AndroidX Media compat in AudioReactor #5065 Use Objects.requireNonNull() #5254 Use view binding in VideoPlayer #5253 #5442 Make Localization.relativeTime testable #5358 Use view binding in fragments #4814 #5417 #5438 #5430 #5463 Switch to Groupie's view binding module #5029 Extract settings import #5225 Merge the two Constants files #5418 Remove APK testing section from PR template #5284 Re-add APK testing section to PR template #5465 Convert AnimationUtils functions to extension functions #5333 Convert ExceptionUtils methods to extension functions #4947 Checkout branch in CI process #5407 Set all default settings at the beginning #5503 Localization Fixed Somali language name #5376 Added Somali Readme #5383 Add Romanian README #5501 Added Brazilian Portuguese Readme #5397 Add Japanese translation of README #5468 Change "Export" to "Import" in Korean Readme instructions #5250 Update README.md to include installation methods other than F-Droid #5108 This app has no ads. Homepage Download
  24. YouTube launches new Sports portal and expands its advertising tools Sports fans that go to YouTube for their sports content have some news in store today. Google has announced a new Sports portal on YouTube, which aims to offer a more immersive experience dedicated entirely to this type of content. Google claims the amount of sports content uploaded to YouTube in the U.S. grew by more than 40% in 2020, so a more convenient way to view it is a welcome change. The new portal will be the home to highlights from recent games, news, and videos trending in their region. You may also find content created by athletes, such as NFL wide receiver Michael Pittman Jr. The new sports experience can be found on the desktop website here, or on the mobile app in the Explore tab. It's also coming to YouTube on smart TVs later on. YouTube also has some news for advertisers, with the expansion of its connected TV lineup on YouTube Select, its dedicated platform for advertisers. This allows companies to get insights into popular content in different categories and help them buy ads that target specific categories of viewers, and this expansion is bringing that content outside of the U.S, to markets such as Australia, Canada, India, and Japan. This expansion will take place over the course of 2021, with more countries to come, and it also includes sports content to go in line with the refreshed sports section. Source: YouTube launches new Sports portal and expands its advertising tools
  25. YouTube has paid more than $30 billion to creators, artists, and others over the last three years The company still has work to do with creator transparency Francois G. Durand/Getty Images YouTube has paid out more than $30 billion to creators, artists, and media organizations over the last three years, according to a new letter published by CEO Susan Wojcicki. In Wojcicki’s first letter to creators of 2021, the CEO spent some time addressing YouTube’s growth. The number of new channels that joined the company’s Partner Program, which allows creators to earn advertising revenue, more than doubled in 2020. YouTube also “contributed approximately $16 billion to the U.S. GDP in 2019, supporting the equivalent of 345,000 full time jobs,” according to an Oxford Economics report that Wojcicki highlights. The letter also focuses on the work YouTube’s team still has in front of them. Mainly, transparency, especially where content strikes and advertising dollars are concerned. Wojcicki noted that at the “scale we operate, it’s hard for creators to keep up with changing Community Guidelines.” Wojcicki’s letter states that YouTube wants to be better about communicating changes to avoid channel strikes. After three strikes within a 90-day period, a channel is terminated. “In December, I spoke with creator Charlie White from the channel penguinz0 after he tweeted about being given a strike for an older video due to a new policy,” Wojcicki wrote. “We know this situation is similar to frustrations shared by other creators.” One example that came up after the 2020 presidential election was YouTube’s decision to ban any videos that propelled misinformation about voter fraud. The new policy went into effect in December, but YouTube gave a grace period for creators to ensure none of their videos violated the new policies. YouTube executives have also faced mounting pressure to do a better job of moderating the site and preventing misinformation from spreading. YouTube is now shifting its focus to vaccination misinformation. “We’re always working to strike the right balance between openness and responsibility as we meet the guidelines set by governments around the world,” Wojcicki wrote. One other interesting part of Wojcicki’s letter was a focus on regulation. A recent hot topic in tech policy circles is reform of Section 230, which effectively allows social media platforms like YouTube, Facebook, and Twitter to operate without being liable for content people post. Wojcicki referred to Section 230 as an act that “enables us to both keep YouTube open and allow a large amount of content on the internet as well as take the actions necessary to protect our platform.” Although Wojcicki didn’t issue a stronger sentiment, she did bring up that the debate over Section 230 happening in Congress has caught the attention of creators like Hila and Ethan Klein. Wojcicki’s full letter, which includes more details about creator revenue and an update on YouTube Shorts, the company’s answer to TikTok, can be read on Google’s blog. Source: YouTube has paid more than $30 billion to creators, artists, and others over the last three years
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