31 ROUND TABLE Content Security
controls to protect the content. Make sure you have firewalls, strong passwords – have those controls in place. But when it comes to the audience, you have to strike a balance. Being totalitarian and confiscating phones, quite frankly, will piss your audience off. Once you start taking phones away from your museum visitors, the word will spread and they’re not going to return. There are technology solutions out there where you can have software that will restrict what your visitors can do on their smartphones, but then again the user experience for your visitor becomes quite tedious and restrictive and poor. One thing to do is use interstitial material at the beginning of a film in the cinema, highlighting that it’s actually illegal to record, then reinforce that message through the museum through posters and other warning messages. The Hollywood industry has tried that and though it’s a huge challenge, these kind of campaigns that run at the beginning of a release tend to work. NEIL SHARPE, FRIEND MTS: Confiscating customers’ mobile phones is rather extreme but one way of tackling the problem of filming content! A much better solution is to undertake global content monitoring to identify any streaming piracy. This monitoring can be directly connected to automated enforcement processes, with the issuing of take down notices to address the piracy.
UFOM: We are building up our audience on Channel 115 with live broadcasts. These will include a live interview with a major, international political figure who claims to have experienced multiple alien abductions and a live stream of ufologist Bob Smith’s attempt to parachute into the US Air Force’s Area 51 research facility. We have secured big sponsors, including a major pharmaceutical company and an energy drink brand. What are the best ways for us to protect our live content? RICHARD BRANDON, EDGEWARE: There are two main watermarking techniques available to users – manifest or bitstream-based. Manifest watermarking uses two versions of each three-second programme segment and creates a content stream with a unique combination of each. This, however, can be easily fooled by pirates who can simply remove one section of the program to disrupt the code. Bit-stream based techniques on the other hand, embed a visual code into the pixels of the programme’s image. This is different in each stream and can’t be seen by viewers or pirates, making it almost impossible for pirates to identify and quicker for operators to track and identify. This needs to be done on the fly, on the edge of a delivery network, to avoid the delivery network making multiple copies of the same coded content. ABDUL HAKIM, DPP: It’s very similar to VOD streaming content. The fundamental
IP principles are the same. DRM and watermarking can be employed at the source. An additional thing is, at the point where you are capturing the live content, it’s best if you have dedicated connectivity to your main distribution point. Having dedicated connectivity means you have control over that chunk of the workflow. At the point where it is handed over for delivery, or to a content distribution partner, you’ve entered the Wild Wild West of the internet. Where possible, and where you have funding available, it’s best to have dedicated connectivity. NEIL SHARPE, FRIEND MTS: Live OTT content can also be protected very effectively with a combination of global channel monitoring and subscriber watermarking. However, it’s important to select a subscriber watermarking technology that’s geared to live operation. This is because some watermarking solutions introduce significant latency, and this makes them a poor fit for live environments. Client-side watermarking has by far the strongest track record with protecting premium live content. UFOM: What is the best way for us to monitor the internet and social media for unauthorised copies and streams of our content? RICHARD BRANDON, EDGEWARE: All you need to do is look at reports about how the UFC monitor illegal streams
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