Surveys continually show that there are still major problems with illegal streaming and illegal download. The activity remains high among people who will not pay for a subscription to a streaming service or buy/rent film digitally.
But there is hope ahead!
The problem has been around since the digital day of the morning for media distribution. It started with illegal copying of CD disks throughout the 90s, since DVD discs, and since music files do not take up a lot of space, the Internet could already be used in the early years for efficient pirate distribution of music.
It started with Napster in 1999 and plagued the turnover of the music industry through ten years before the lost began to return with the advent of services like Spotify.
Even though musicians often complain that it is not getting as much money from the digital services as when the physical slices were alive and well, it has to be said that the model is working.
Music Streaming has become the standard for music use, and for the consumer it is simply amazing that for about a hundred kroner a month, at any time and anywhere, you have access to virtually all the music that is available all over the world, new as Old – and in high quality.
It is simply unique when you think about it!
Especially when you think back to scratchy vinyl records that had to be turned all the time, and CD discs that had to be taken off a shelf and placed in an appliance to play an hour's music. Digital distribution is an overwhelmingly efficient and rapidly growing evolution for the media industry. A real revolution.
It saves huge amounts of plastic and fuel for logistics to drive around with plastic slices, and the traffic of music and movies and TV shows has now moved into the digital online world, providing great new opportunities. But the shadow side is still there, and especially the film industry in Denmark, I often hear curses about digital development, which is seen as a new vicious time when money has disappeared and people can easily steal films.
And it is a well-shadowed side of digital distribution. It is all too easy to develop illegal services and get away from it, and all too easily for consumers to have access to illegal opportunities to circumvent copyright, and it costs money for the industry.
How much it costs for the industry is difficult to calculate, as it is not possible to expect the number of illegally downloaded films to correspond to a legally valid purchase.
The problem recently appeared again on the side of the media when the Internet provider Telenor won a case in the Court of Appeal. The case was about the famous letters that a law firm on behalf of both Danish and international film companies has sent out to consumers who have been uncovered from having downloaded a film illegally.
The matter once again started in the debate on how to get uvæsenet to life. There are generally two factions, each with its own model for a solution: those who try a combination of hunting for the perpetrators, who put the illegal sides up, and information campaigns to the media consumers that this is not the way. And then those who want to chase the end-users, expose them with the refined use of surveillance technology and court orders to telecoms companies to come out with people's identities in order to send them a threat of litigation and offer to close the case to a tax of about 2,500 kroner.
The last model seems to have been sidelined, as the court of First Instance gave Telenor the insistence that in the future it could not be forced to disclose the identity of its customers from a court order from a law firm that has investigated data for internet behaviour from piracy sites. It is unknown whether the case proceeds to the Supreme Court, but it is tough odds in a time of GDPR and great focus on our right to protect our data.
The telecom industry is cheering, and parts of the film industry are raging with rhetoric like: "You can't compete with free."
I have the impression that many people in the sector actually see piracy as the main cause of economic crisis in Danish cinema. That can hardly be the case. The fact that we have had so many new opportunities to watch films and TV programmes in various ways, also plays a role.
But there is cause for optimism, and the industry will eventually adopt new business models from Streamingverdenen, all the while chasing the perpetrators and developing information campaigns aimed at the users of illegal services continue to keep The development of illegal behaviour.
Because that is clearly the way forward.
A Nordic study Showed recently that despite the fact that the film industry is plagued by the illegal behaviour on the web, it is worse in Sweden. In March, the Swedish Film-och TV branschens Samarbetskommitté investigated the behaviour of downloading illegally from, for example, the Pirate Bay website, and the figures were 21 percent for Sweden, 14 percent for Norway, 10 percent for Denmark and only 6 percent for Finland.
And it could be said that the level in Sweden is the same as five years ago. The project manager at Media Vision, who conducted the study, believes that the differences between the Nordic countries are due to the fact that we in Finland and Denmark have more activities in the process of blocking illegal services than they have in Sweden.
So the work of the Rights Alliance is constantly chasing websites that violate copyright and have them blocked, so has an effect. And it will make much more sense to turn up this hunt rather than chasing the users by sending them fines, which can in fact be perceived as image-damaging scare campaigns. This is hardly effective, but can, on the contrary, damage the reputation of the film industry, however unreasonable it may be.
The telecom industry has worked well with the rights alliance to get barriers to illegal streaming services such launched effectively, so it is not reasonable for the people of the film industry to cast their anger on the telecommunications companies, which will not extradite people's Private data.
But I still do not believe that illegal behaviour can ever come to life. It will always tempt consumers with a morality, but you can clearly hold it down. In the long run, streamingindustriens new business opportunities will also gain more and more penetration, although these new models for many in the film industry are not popular, as they seem to be unable to give high revenues.
The model Netflix goes out with will probably show the way forward. With global distribution of a TV show or film, even a Danish producer can reach the globe with a Danish TV series when Netflix presses a button. However, one has typically as a producer sold all its rights in a single agreement, and the model is hard to swallow for many.
However, everyone must be able to see that the model actually works. Even if anything that can be streamed can also be pirated and piratstremesed, then the motivation for an amoral end user everything else is equally significantly smaller when a TV series or film is available at a low cost streaming service.
And if you are a Miso Film that has produced a TV series like the Rain on Netflix, you don't have to worry about pirates and illegal downloads at all.
This post was originally published by the film magazine echo Movies.