May 16, 2010
If the MPEG-LA, the patent pool behind H.264 and MPEG-2, has it their way I am an endangered species: “Vincent“, being 44 min. long would not qualify for the MPEG-LA’s “free” offer, latest after 2015 and there is no way that I (or someone else) will be paying protection money to a fucking patent pool for “Vincent”.
My work would simply not be available online any more (thanks to software patents no alternative). Welcome to the age of Corporate Fascism. It’s standing at your and my front door. But you can still act now:
* vote with your browser: since Apple and Microsoft – both H.264 patent holders – are pushing for H.264 as the future web standard for video: simply dump your Apple/MS browsers now and use Firefox, Chrome or Opera. If not: you might be paying for the rest of your life with more ads (yes, H.264 is “free” for the end user…).
* let others know what is at stake here: those people would like to/are about to establish a MONOPOLY ON THE MOVING IMAGE (lock-in via video codec) – a pretty scary systemic change:
Why Our Civilization’s Video Art and Culture is Threatened by the MPEG-LA
And for all my younger – and not so young – readers: if this was a Harry Potter movie Dumbledore would say:
“Dark times lay ahead, Harry. Soon we’ll all have to choose between what is right — and what is easy.”
May 15, 2010
TorrentFreak reports that the makers of Kathryn Bigelow’s latest “The Hurt Locker” are going to sue “Thousands of BitTorrent Users“.
And here in Europe there is now one buyer less for “The Hurt Locker” DVD: me.
I’m quite of a fan of Kathryn Bigelow’s work, I was hyping that movie (among my friends) long before everyone was only talking about the movie that brought DRM to the mainstream cinema, “Avatar” (and no, I still have not seen “Avatar” yet because of the DRM they use).
From now on I will write about individual Hollywood movies and pick them out for boycott – just like Hollywood picks out individual fans that they’ll sue!
I love (good) movies. I don’t “pirate” movies for one good reason: “piracy” simply helps promoting (Hollywood) movies and I wish people would stop distributing what I think is really to about 9/10 unwatchable anyway.
Yet if Hollywood continues to sue my movies loving brothers and sisters I will stop buying from Hollywood entirely and I will stop watching new Hollywood movies entirely.
And in the long run:
I hope that all sane and creative people will stop working for an industry that has lost its touch to the audience long ago.
And this is not even talking in detail about the incredible superficiality and the poor handwork (e.g. scripts) that Hollywood pushes on the market these days.
I am specially sad that the makers of “The Hurt Locker” are now joining in the corporate fascism tactics that Hollywood is using. This movie is an exception, it’s actually really, really good – yet I will not buy it on DVD now, the movie simply will not exist in my collection, it will be missed, yet this is what needs to be done now.
This system needs to be changed. I won’t shut up. Not me.
May 10, 2010
Hail to our new Overlord,
The One and only,
Owner of all legal moving pictures compression algorithms of this world,
Great conqueror of Theora, Dirac and all the other “open source” algorithms,
Master of all moving pictures distribution channels that legally exist:
May You find the grace to give me my daily fix of de/en-coding today.
Hail to MPEG LA!
Hail! Hail! Hail!
May 1, 2010
…since H.264 is patent encumbered. I’ll never use H.264 again and will re-encode all my online videos with VP8 (once open-sourced and usable).
Steve Jobs (quoted from Open Letter to Steve Jobs): “All video codecs are covered by patents. A patent pool is being assembled to go after Theora and other “open source” codecs now.”
And as it seems there is “a patent for everything”: MPEG LA
Good analysis: Jobs: Patent Pool Being Assembled To Go After Theora
Very interesting read, from the Theora mailing list: Mutually assured minefields
This is not only about video codecs, this is about the future of (free) video/moving images distribution (including post production) across a variety of devices and services. And it’s about (corporate) control over media content (via licensing fees, that you need to be able to afford, as e.g. big media always would…).