Opinion column: With the invention of some of the pirate flag ships, pirate content consumers and suppliers will have to think about their future in this stormy sea, but what about the film industry itself?
The pirates are in trouble. American law enforcement authorities pursue them wherever they may be, dropping their sites And put their operators in jail. Some of them take down their servers and services On their own initiative From the long arm of the law. The operators of sites that have been considered by many to be icons of culture and celebrities who live in huge estates and yachts luxury hunting one after another in what looks like operation Military, with all their property confiscated.
It is true that immediately after the fall of one pirated site, five others emerge, but something seems to be changing. The impression is that many of the publishers who have not yet been caught will have to re-calculate the route and what was really is not what it will be. It is possible that the change in trend will come in a technological way. We were recently informed Initiated by Kim Dotcom Intends to upgrade its operations in storage and information transfer. The man, who has been caught and imprisoned and legal proceedings are still underway against him, intends to establish an encrypted storage-based storage service Bitcoin Minimal. In other words, this is a change of perception: from the ideology of free transfer of content, there is a transition to paid service. In which the information was available to everyone - the world in which the user needs the information to be a registered member of the community, so that he can access the content.
The consumers of pirated information and its distributors, who until now have acted fairly openly, will probably have to develop methods that will to a certain extent refer to those in the underworld, such as "friend brings a friend" and confidentiality. Those who want to use pirated information in the classic way will have to be careful - not necessarily from the enforcement authorities, but more than the pirated sites that remain. While large ones have a "reputation" of relatively safe sites, small and dubious individuals may be run by people with different intentions and interests.
If so, it seems that the pirate world will change and become more and more an underworld. But what about the other side, the side that seems to be winning? Will not it need to re-calculate route? It seems that pirated consumers do not consume content only because it is provided for free, but in many cases simply because it is available. When a new film goes out to the movies, it takes months to arrive legitimately in the country where the user is in need of the content. And what about old and beloved movies and series? Usually there is no legal way to see them and they are likely to disappear into oblivion because of this.
They may be broadcast at some point on the cable channels, and the content consumer will have to wait patiently and monitor the transmission dates. The video libraries of the past have disappeared, and even if they exist, their content is limited. There are new services (in Israel) such as Netflix, which bring their content to the public, but also contain a limited amount of content Are diminishing According to network reports. Many of the contents are not translated into the language of viewers in the target country.
On the other hand, the pirated sites have created a vast library, an endless, varied, cataloged and ranked reality, with high quality content and translations into dozens of languages. Many of the contributors to this huge project are volunteers who have translated, cataloged, cataloged, and rated the content free of charge and of good will. It is undoubtedly one of the most impressive projects ever established, and has created the largest movie library in the history of mankind - and is available to anyone interested.
And the question arises - why did the film companies destroy this library instead of taking part in it? The question seems silly, but pay attention - if you had paid and legal access to the entire range of video and music content that ever appeared in the past, and even immediately upon their departure in the present and in the future; If you could access this information when it is categorized and ranked and translated into your language - would not you be willing to pay a reasonable amount to reward the creators? Probably so. That is, if you currently pay 100-200 shekels per month to the cable companies for the library Movies Limited, you would probably be willing to pay the same amount to a large library dozens of times. Why, then, did not film companies do this? Why did not they cooperate legitimately with the enthusiastic community, which did much in the field and with full volunteerism?
If all this still seems delusional, think about Google - a company that operates entirely for profit. The company developed an open-source operating system and allowed all developers to develop for it Apps. Many have developed such for commercial purposes, and many have contributed Apps They were not going to make a profit. The same applies to volunteers who update their maps on Google, simply because they enjoy it. And what about all the volunteers in other commercial companies, such as TripAdvisor? And if we are dealing with the cinema - so do the many contributors to IMDB. Why, then, film companies could not set up a library Movies Unlimited with content, subscription fees and transfer payments to content producers? If there is a need for personnel to perform translations, there are entire communities that have done so for free today and would be happy to do so again for a fee.
Is there a need for collations, encodings, synchronicity, ratings? The community is there and will continue to be. Where is the problem, then? It is in contracts, agreements and working methods that fit the prehistoric era of the pre-Internet. If the film companies would set up such a site for a fee, what would be the agreements with the cable companies? And what about the movie theaters? Distributors? After all, everyone would go bankrupt. Therefore, such a step can not be taken. But in fact ... it took place in the world of books. If in the past a book was published through a publisher, distributor, and bookstore who cut off their coupon in turn, Amazon now has paid access to millions of books, and what about bookstores, distributors and publishers? Well, many of them who did not manage to change went bankrupt. But was it logical to preserve the old method of physical bookstores and to prevent public access to books simply to keep the stores alive? Is it logical to cancel the television only so as not to harm the theater? Is it reasonable to deny the public paid access to the human media in order to preserve the cinemas?
At the moment, the answer seems to be yes. The public is crying for fast, accessible, legal and quality content. The public is willing to pay, but there is no one to deliver the goods because of past blasts. And like the principle of the invisible hand that every first-year student learns in economics - if there is someone to buy, there will also be someone to sell. The film companies do their best not to be the ones that sell. Like an old, deaf cowboy who shoots anyone who tries to enter his territory: shoots and hits the pirates, but also his audience and the way himself, instead of stopping and thinking about how to integrate into the new world. Instead of learning from commercial companies that use the community to upgrade and improve the content, he avenges the community and demands that she go to the movie theaters because there, he remembers, was once the money.
Some of you may still wonder: Well, really ... and if there was such a service, would piracy stop? Of course not, but if Alternitba was legally and orderly consumers without the risk of identity theft and viruses - piracy would probably turn itself into a much more marginal phenomenon, perhaps somewhere between dark dark sites. But instead of delivering the goods that many want to buy from them, movie companies are channeling tens of millions of dollars from the US taxpayer budget to fight its own target audience.
So the battered pirates will have to change. And pirate consumers will have to calculate their future in this world as long as the film industry can stay exactly where it was before 20 a year.