Tag Archives: ALPHA

Popcorn Time Creator Readies BitTorrent & Blockchain-Powered Video Platform

Post Syndicated from Andy original https://torrentfreak.com/popcorn-time-creator-readies-bittorrent-blockchain-powered-youtube-competitor-171012/

Without a doubt, YouTube is one of the most important websites available on the Internet today.

Its massive archive of videos brings pleasure to millions on a daily basis but its centralized nature means that owner Google always exercises control.

Over the years, people have looked to decentralize the YouTube concept and the latest project hoping to shake up the market has a particularly interesting player onboard.

Until 2015, only insiders knew that Argentinian designer Federico Abad was actually ‘Sebastian’, the shadowy figure behind notorious content sharing platform Popcorn Time.

Now he’s part of the team behind Flixxo, a BitTorrent and blockchain-powered startup hoping to wrestle a share of the video market from YouTube. Here’s how the team, which features blockchain startup RSK Labs, hope things will play out.

The Flixxo network will have no centralized storage of data, eliminating the need for expensive hosting along with associated costs. Instead, transfers will take place between peers using BitTorrent, meaning video content will be stored on the machines of Flixxo users. In practice, the content will be downloaded and uploaded in much the same way as users do on The Pirate Bay or indeed Abad’s baby, Popcorn Time.

However, there’s a twist to the system that envisions content creators, content consumers, and network participants (seeders) making revenue from their efforts.

At the heart of the Flixxo system are digital tokens (think virtual currency), called Flixx. These Flixx ‘coins’, which will go on sale in 12 days, can be used to buy access to content. Creators can also opt to pay consumers when those people help to distribute their content to others.

“Free from structural costs, producers can share the earnings from their content with the network that supports them,” the team explains.

“This way you get paid for helping us improve Flixxo, and you earn credits (in the form of digital tokens called Flixx) for watching higher quality content. Having no intermediaries means that the price you pay for watching the content that you actually want to watch is lower and fairer.”

The Flixxo team

In addition to earning tokens from helping to distribute content, people in the Flixxo ecosystem can also earn currency by watching sponsored content, i.e advertisements. While in a traditional system adverts are often considered a nuisance, Flixx tokens have real value, with a promise that users will be able to trade their Flixx not only for videos, but also for tangible and semi-tangible goods.

“Use your Flixx to reward the producers you follow, encouraging them to create more awesome content. Or keep your Flixx in your wallet and use them to buy a movie ticket, a pair of shoes from an online retailer, a chest of coins in your favourite game or even convert them to old-fashioned cash or up-and-coming digital assets, like Bitcoin,” the team explains.

The Flixxo team have big plans. After foundation in early 2016, the second quarter of 2017 saw the completion of a functional alpha release. In a little under two weeks, the project will begin its token generation event, with new offices in Los Angeles planned for the first half of 2018 alongside a premiere of the Flixxo platform.

“A total of 1,000,000,000 (one billion) Flixx tokens will be issued. A maximum of 300,000,000 (three hundred million) tokens will be sold. Some of these tokens (not more than 33% or 100,000,000 Flixx) may be sold with anticipation of the token allocation event to strategic investors,” Flixxo states.

Like all content platforms, Flixxo will live or die by the quality of the content it provides and whether, at least in the first instance, it can persuade people to part with their hard-earned cash. Only time will tell whether its content will be worth a premium over readily accessible YouTube content but with much-reduced costs, it may tempt creators seeking a bigger piece of the pie.

“Flixxo will also educate its community, teaching its users that in this new internet era value can be held and transferred online without intermediaries, a value that can be earned back by participating in a community, by contributing, being rewarded for every single social interaction,” the team explains.

Of course, the elephant in the room is what will happen when people begin sharing copyrighted content via Flixxo. Certainly, the fact that Popcorn Time’s founder is a key player and rival streaming platform Stremio is listed as a partner means that things could get a bit spicy later on.

Nevertheless, the team suggests that piracy and spam content distribution will be limited by mechanisms already built into the system.

“[A]uthors have to time-block tokens in a smart contract (set as a warranty) in order to upload content. This contract will also handle and block their earnings for a certain period of time, so that in the case of a dispute the unfair-uploader may lose those tokens,” they explain.

That being said, Flixxo also says that “there is no way” for third parties to censor content “which means that anyone has the chance of making any piece of media available on the network.” However, Flixxo says it will develop tools for filtering what it describes as “inappropriate content.”

At this point, things start to become a little unclear. On the one hand Flixxo says it could become a “revolutionary tool for uncensorable and untraceable media” yet on the other it says that it’s necessary to ensure that adult content, for example, isn’t seen by kids.

“We know there is a thin line between filtering or curating content and censorship, and it is a fact that we have an open network for everyone to upload any content. However, Flixxo as a platform will apply certain filtering based on clear rules – there should be a behavior-code for uploaders in order to offer the right content to the right user,” Flixxo explains.

To this end, Flixxo says it will deploy a centralized curation function, carried out by 101 delegates elected by the community, which will become progressively decentralized over time.

“This curation will have a cost, paid in Flixx, and will be collected from the warranty blocked by the content uploaders,” they add.

There can be little doubt that if Flixxo begins ‘curating’ unsuitable content, copyright holders will call on it to do the same for their content too. And, if the platform really takes off, 101 curators probably won’t scratch the surface. There’s also the not inconsiderable issue of what might happen to curators’ judgment when they’re incentivized to block curate content.

Finally, for those sick of “not available in your region” messages, there’s good and bad news. Flixxo insists there will be no geo-blocking of content on its part but individual creators will still have that feature available to them, should they choose.

The Flixx whitepaper can be downloaded here (pdf)

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Stream Ripping Piracy Goes From Bad to Worse, Music Industry Reports

Post Syndicated from Ernesto original https://torrentfreak.com/stream-ripping-piracy-goes-from-bad-to-worse-music-industry-reports-170919/

Free music is easy to find nowadays. Just head over to YouTube and you can find millions of tracks including many of the most recent releases.

While the music industry profits from the advertisements on many of these videos, it’s not happy with the current state of affairs. Record labels complain about a “value gap” and go as far as accusing the video streaming platform of operating a DMCA protection racket.

YouTube doesn’t agree with this stance and points to the billions of dollars it pays copyright holders. Still, the music industry is far from impressed.

Today, IFPI has released a new music consumer insight report that highlights this issue once again, while pointing out that YouTube accounts for more than half of all music video streaming.

“User upload services, such as YouTube, are heavily used by music consumers and yet do not return fair value to those who are investing in and creating the music. The Value Gap remains the single biggest threat facing the music world today and we are campaigning for a legislative solution,” IFPI CEO Frances Moore writes.

The report also zooms in on piracy and “stream ripping” in particular, which is another YouTube and Google related issue. While this phenomenon is over a decade old, it’s now the main source of music piracy, the report states.

A survey conducted in the world’s leading music industry markets reveals that 35% of all Internet users are stream rippers, up from 30% last year. In total, 40% of all respondents admitted to obtaining unlicensed music.

35% stream ripping (source IFPI)

This means that the vast majority of all music pirates use stream ripping tools. This practice is particularly popular among those in the youngest age group, where more than half of all Internet users admit to ripping music, and it goes down as age increases.

Adding another stab at Google, the report further notes that more than half of all pirates use the popular search engine to find unlicensed music.

Stream rippers are young (source IFPI)

TorrentFreak spoke to former RIAA executive Neil Turkewitz, who has been very vocal about the stream ripping problem. He now heads his own consulting group that focuses on expanding economic cultural prosperity, particularly online.

Stream ripping is a “double whammy,” Turkewitz says, as it’s undermining both streaming and distribution markets. This affects the bottom line of labels and artists, so YouTube should do more to block stream rippers and converters from exploiting the service.

“YouTube and Alphabet talk of their commitment to expanding opportunities for creators. This is an opportunity to prove it,” Turkewitz informs TF.

“Surely the company that, as Eric Schmidt likes to say, ‘knows what people want before they know it’ has the capacity to develop tools to address problems that inhibit the development of a robust online market that sustains creators.”

While stream ripping remains rampant, there is a positive development the music industry can cling to.

Two weeks ago the major record labels managed to take down YouTube-MP3, the largest ripping site of all. While this is a notable success, there are many sites and tools like it that continue business as usual.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Inside the MPAA, Netflix & Amazon Global Anti-Piracy Alliance

Post Syndicated from Andy original https://torrentfreak.com/inside-the-mpaa-netflix-amazon-global-anti-piracy-alliance-170918/

The idea of collaboration in the anti-piracy arena isn’t new but an announcement this summer heralded what is destined to become the largest project the entertainment industry has ever seen.

The Alliance for Creativity and Entertainment (ACE) is a coalition of 30 companies that reads like a who’s who of the global entertainment market. In alphabetical order its members are:

Amazon, AMC Networks, BBC Worldwide, Bell Canada and Bell Media, Canal+ Group, CBS Corporation, Constantin Film, Foxtel, Grupo Globo, HBO, Hulu, Lionsgate, Metro-Goldwyn-Mayer (MGM), Millennium Media, NBCUniversal, Netflix, Paramount Pictures, SF Studios, Sky, Sony Pictures Entertainment, Star India, Studio Babelsberg, STX Entertainment, Telemundo, Televisa, Twentieth Century Fox, Univision Communications Inc., Village Roadshow, The Walt Disney Company, and Warner Bros. Entertainment Inc.

The aim of the project is clear. Instead of each company considering its anti-piracy operations as a distinct island, ACE will bring them all together while presenting a united front to decision and lawmakers. At the core of the Alliance will be the MPAA.

“ACE, with its broad coalition of creators from around the world, is designed, specifically, to leverage the best possible resources to reduce piracy,”
outgoing MPAA chief Chris Dodd said in June.

“For decades, the MPAA has been the gold standard for antipiracy enforcement. We are proud to provide the MPAA’s worldwide antipiracy resources and the deep expertise of our antipiracy unit to support ACE and all its initiatives.”

Since then, ACE and its members have been silent on the project. Today, however, TorrentFreak can pull back the curtain, revealing how the agreement between the companies will play out, who will be in control, and how much the scheme will cost.

Power structure: Founding Members & Executive Committee Members

Netflix, Inc., Amazon Studios LLC, Paramount Pictures Corporation, Sony Pictures Entertainment, Inc., Twentieth Century Fox Film Corporation, Universal City Studios LLC, Warner Bros. Entertainment Inc., and Walt Disney Studios Motion Pictures, are the ‘Founding Members’ (Governing Board) of ACE.

These companies are granted full voting rights on ACE business, including the approval of initiatives and public policy, anti-piracy strategy, budget-related matters, plus approval of legal action. Not least, they’ll have the power to admit or expel ACE members.

All actions taken by the Governing Board (never to exceed nine members) need to be approved by consensus, with each Founding Member able to vote for or against decisions. Members are also allowed to abstain but one persistent objection will be enough to stop any matter being approved.

The second tier – ‘Executive Committee Members’ – is comprised of all the other companies in the ACE project (as listed above, minus the Governing Board). These companies will not be allowed to vote on ACE initiatives but can present ideas and strategies. They’ll also be allowed to suggest targets for law enforcement action while utilizing the MPAA’s anti-piracy resources.

Rights of all members

While all members of ACE can utilize the alliance’s resources, none are barred from simultaneously ‘going it alone’ on separate anti-piracy initiatives. None of these strategies and actions need approval from the Founding Members, provided they’re carried out in a company’s own name and at its own expense.

Information obtained by TorrentFreak indicates that the MPAA also reserves the right to carry out anti-piracy actions in its own name or on behalf of its member studios. The pattern here is different, since the MPAA’s global anti-piracy resources are the same resources being made available to the ACE alliance and for which members have paid to share.

Expansion of ACE

While ACE membership is already broad, the alliance is prepared to take on additional members, providing certain criteria are met. Crucially, any prospective additions must be owners or producers of movies and/or TV shows. The Governing Board will then vet applicants to ensure that they meet the criteria for acceptance as a new Executive Committee Members.

ACE Operations

The nine Governing Board members will meet at least four times a year, with each nominating a senior executive to serve as its representative. The MPAA’s General Counsel will take up the position of non-voting member of the Governing Board and will chair its meetings.

Matters to be discussed include formulating and developing the alliance’s ‘Global Anti-Piracy Action Plan’ and approving and developing the budget. ACE will also form an Anti-Piracy Working Group, which is scheduled to meet at least once a month.

On a daily basis, the MPAA and its staff will attend to the business of the ACE alliance. The MPAA will carry out its own work too but when presenting to outside third parties, it will clearly state which “hat” it is currently wearing.

Much deliberation has taken place over who should be the official spokesperson for ACE. Documents obtained by TF suggest that the MPAA planned to hire a consulting firm to find a person for the role, seeking a professional with international experience who had never been previously been connected with the MPAA.

They appear to have settled on Zoe Thorogood, who previously worked for British Prime Minister David Cameron.

Money, money, money

Of course, the ACE program isn’t going to fund itself, so all members are required to contribute to the operation. The MPAA has opened a dedicated bank account under its control specifically for the purpose, with members contributing depending on status.

Founding/Governing Board Members will be required to commit $5m each annually. However, none of the studios that are MPAA members will have to hand over any cash, since they already fund the MPAA, whose anti-piracy resources ACE is built.

“Each Governing Board Member will contribute annual dues in an amount equal to $5 million USD. Payment of dues shall be made bi-annually in equal shares, payable at
the beginning of each six (6) month period,” the ACE agreement reads.

“The contribution of MPAA personnel, assets and resources…will constitute and be considered as full payment of each MPAA Member Studio’s Governing Board dues.”

That leaves just Netflix and Amazon paying the full amount of $5m in cash each.

From each company’s contribution, $1m will be paid into legal trust accounts allocated to each Governing Board member. If ACE-agreed litigation and legal expenses exceed that amount for the year, members will be required to top up their accounts to cover their share of the costs.

For the remaining 21 companies on the Executive Committee, annual dues are $200,000 each, to be paid in one installment at the start of the financial year – $4.2m all in. Of all dues paid by all members from both tiers, half will be used to boost anti-piracy resources, over and above what the MPAA will spend on the same during 2017.

“Fifty percent (50%) of all dues received from Global Alliance Members other than
the MPAA Member Studios…shall, as agreed by the Governing Board, be used (a) to increase the resources spent on online antipiracy over and above….the amount of MPAA’s 2017 Content Protection Department budget for online antipiracy initiatives/operations,” an internal ACE document reads.

Intellectual property

As the project moves forward, the Alliance expects to gain certain knowledge and experience. On the back of that, the MPAA hopes to grow its intellectual property portfolio.

“Absent written agreement providing otherwise, any and all data, intellectual property, copyrights, trademarks, or know-how owned and/or contributed to the Global Alliance by MPAA, or developed or created by the MPAA or the Global Alliance during the Term of this Charter, shall remain and/or become the exclusive property of the MPAA,” the ACE agreement reads.

That being said, all Governing Board Members will also be granted “perpetual, irrevocable, non-exclusive licenses” to use the same under certain rules, even in the event they leave the ACE initiative.

Terms and extensions

Any member may withdraw from the Alliance at any point, but there will be no refunds. Additionally, any financial commitment previously made to litigation will have to be honored by the member.

The ACE agreement has an initial term of two years but Governing Board Members will meet not less than three months before it is due to expire to vote on any extension.

To be continued……

With the internal structure of ACE now revealed, all that remains is to discover the contents of the initiative’s ‘Global Anti-Piracy Action Plan’. To date, that document has proven elusive but with an operation of such magnitude, future leaks are a distinct possibility.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Manage Kubernetes Clusters on AWS Using CoreOS Tectonic

Post Syndicated from Arun Gupta original https://aws.amazon.com/blogs/compute/kubernetes-clusters-aws-coreos-tectonic/

There are multiple ways to run a Kubernetes cluster on Amazon Web Services (AWS). The first post in this series explained how to manage a Kubernetes cluster on AWS using kops. This second post explains how to manage a Kubernetes cluster on AWS using CoreOS Tectonic.

Tectonic overview

Tectonic delivers the most current upstream version of Kubernetes with additional features. It is a commercial offering from CoreOS and adds the following features over the upstream:

  • Installer
    Comes with a graphical installer that installs a highly available Kubernetes cluster. Alternatively, the cluster can be installed using AWS CloudFormation templates or Terraform scripts.
  • Operators
    An operator is an application-specific controller that extends the Kubernetes API to create, configure, and manage instances of complex stateful applications on behalf of a Kubernetes user. This release includes an etcd operator for rolling upgrades and a Prometheus operator for monitoring capabilities.
  • Console
    A web console provides a full view of applications running in the cluster. It also allows you to deploy applications to the cluster and start the rolling upgrade of the cluster.
  • Monitoring
    Node CPU and memory metrics are powered by the Prometheus operator. The graphs are available in the console. A large set of preconfigured Prometheus alerts are also available.
  • Security
    Tectonic ensures that cluster is always up to date with the most recent patches/fixes. Tectonic clusters also enable role-based access control (RBAC). Different roles can be mapped to an LDAP service.
  • Support
    CoreOS provides commercial support for clusters created using Tectonic.

Tectonic can be installed on AWS using a GUI installer or Terraform scripts. The installer prompts you for the information needed to boot the Kubernetes cluster, such as AWS access and secret key, number of master and worker nodes, and instance size for the master and worker nodes. The cluster can be created after all the options are specified. Alternatively, Terraform assets can be downloaded and the cluster can be created later. This post shows using the installer.

CoreOS License and Pull Secret

Even though Tectonic is a commercial offering, a cluster for up to 10 nodes can be created by creating a free account at Get Tectonic for Kubernetes. After signup, a CoreOS License and Pull Secret files are provided on your CoreOS account page. Download these files as they are needed by the installer to boot the cluster.

IAM user permission

The IAM user to create the Kubernetes cluster must have access to the following services and features:

  • Amazon Route 53
  • Amazon EC2
  • Elastic Load Balancing
  • Amazon S3
  • Amazon VPC
  • Security groups

Use the aws-policy policy to grant the required permissions for the IAM user.

DNS configuration

A subdomain is required to create the cluster, and it must be registered as a public Route 53 hosted zone. The zone is used to host and expose the console web application. It is also used as the static namespace for the Kubernetes API server. This allows kubectl to be able to talk directly with the master.

The domain may be registered using Route 53. Alternatively, a domain may be registered at a third-party registrar. This post uses a kubernetes-aws.io domain registered at a third-party registrar and a tectonic subdomain within it.

Generate a Route 53 hosted zone using the AWS CLI. Download jq to run this command:

ID=$(uuidgen) && \
aws route53 create-hosted-zone \
--name tectonic.kubernetes-aws.io \
--caller-reference $ID \
| jq .DelegationSet.NameServers

The command shows an output such as the following:

[
  "ns-1924.awsdns-48.co.uk",
  "ns-501.awsdns-62.com",
  "ns-1259.awsdns-29.org",
  "ns-749.awsdns-29.net"
]

Create NS records for the domain with your registrar. Make sure that the NS records can be resolved using a utility like dig web interface. A sample output would look like the following:

The bottom of the screenshot shows NS records configured for the subdomain.

Download and run the Tectonic installer

Download the Tectonic installer (version 1.7.1) and extract it. The latest installer can always be found at coreos.com/tectonic. Start the installer:

./tectonic/tectonic-installer/$PLATFORM/installer

Replace $PLATFORM with either darwin or linux. The installer opens your default browser and prompts you to select the cloud provider. Choose Amazon Web Services as the platform. Choose Next Step.

Specify the Access Key ID and Secret Access Key for the IAM role that you created earlier. This allows the installer to create resources required for the Kubernetes cluster. This also gives the installer full access to your AWS account. Alternatively, to protect the integrity of your main AWS credentials, use a temporary session token to generate temporary credentials.

You also need to choose a region in which to install the cluster. For the purpose of this post, I chose a region close to where I live, Northern California. Choose Next Step.

Give your cluster a name. This name is part of the static namespace for the master and the address of the console.

To enable in-place update to the Kubernetes cluster, select the checkbox next to Automated Updates. It also enables update to the etcd and Prometheus operators. This feature may become a default in future releases.

Choose Upload “tectonic-license.txt” and upload the previously downloaded license file.

Choose Upload “config.json” and upload the previously downloaded pull secret file. Choose Next Step.

Let the installer generate a CA certificate and key. In this case, the browser may not recognize this certificate, which I discuss later in the post. Alternatively, you can provide a CA certificate and a key in PEM format issued by an authorized certificate authority. Choose Next Step.

Use the SSH key for the region specified earlier. You also have an option to generate a new key. This allows you to later connect using SSH into the Amazon EC2 instances provisioned by the cluster. Here is the command that can be used to log in:

ssh –i <key> [email protected]<ec2-instance-ip>

Choose Next Step.

Define the number and instance type of master and worker nodes. In this case, create a 6 nodes cluster. Make sure that the worker nodes have enough processing power and memory to run the containers.

An etcd cluster is used as persistent storage for all of Kubernetes API objects. This cluster is required for the Kubernetes cluster to operate. There are three ways to use the etcd cluster as part of the Tectonic installer:

  • (Default) Provision the cluster using EC2 instances. Additional EC2 instances are used in this case.
  • Use an alpha support for cluster provisioning using the etcd operator. The etcd operator is used for automated operations of the etcd master nodes for the cluster itself, in addition to for etcd instances that are created for application usage. The etcd cluster is provisioned within the Tectonic installer.
  • Bring your own pre-provisioned etcd cluster.

Use the first option in this case.

For more information about choosing the appropriate instance type, see the etcd hardware recommendation. Choose Next Step.

Specify the networking options. The installer can create a new public VPC or use a pre-existing public or private VPC. Make sure that the VPC requirements are met for an existing VPC.

Give a DNS name for the cluster. Choose the domain for which the Route 53 hosted zone was configured earlier, such as tectonic.kubernetes-aws.io. Multiple clusters may be created under a single domain. The cluster name and the DNS name would typically match each other.

To select the CIDR range, choose Show Advanced Settings. You can also choose the Availability Zones for the master and worker nodes. By default, the master and worker nodes are spread across multiple Availability Zones in the chosen region. This makes the cluster highly available.

Leave the other values as default. Choose Next Step.

Specify an email address and password to be used as credentials to log in to the console. Choose Next Step.

At any point during the installation, you can choose Save progress. This allows you to save configurations specified in the installer. This configuration file can then be used to restore progress in the installer at a later point.

To start the cluster installation, choose Submit. At another time, you can download the Terraform assets by choosing Manually boot. This allows you to boot the cluster later.

The logs from the Terraform scripts are shown in the installer. When the installation is complete, the console shows that the Terraform scripts were successfully applied, the domain name was resolved successfully, and that the console has started. The domain works successfully if the DNS resolution worked earlier, and it’s the address where the console is accessible.

Choose Download assets to download assets related to your cluster. It contains your generated CA, kubectl configuration file, and the Terraform state. This download is an important step as it allows you to delete the cluster later.

Choose Next Step for the final installation screen. It allows you to access the Tectonic console, gives you instructions about how to configure kubectl to manage this cluster, and finally deploys an application using kubectl.

Choose Go to my Tectonic Console. In our case, it is also accessible at http://cluster.tectonic.kubernetes-aws.io/.

As I mentioned earlier, the browser does not recognize the self-generated CA certificate. Choose Advanced and connect to the console. Enter the login credentials specified earlier in the installer and choose Login.

The Kubernetes upstream and console version are shown under Software Details. Cluster health shows All systems go and it means that the API server and the backend API can be reached.

To view different Kubernetes resources in the cluster choose, the resource in the left navigation bar. For example, all deployments can be seen by choosing Deployments.

By default, resources in the all namespace are shown. Other namespaces may be chosen by clicking on a menu item on the top of the screen. Different administration tasks such as managing the namespaces, getting list of the nodes and RBAC can be configured as well.

Download and run Kubectl

Kubectl is required to manage the Kubernetes cluster. The latest version of kubectl can be downloaded using the following command:

curl -LO https://storage.googleapis.com/kubernetes-release/release/$(curl -s https://storage.googleapis.com/kubernetes-release/release/stable.txt)/bin/darwin/amd64/kubectl

It can also be conveniently installed using the Homebrew package manager. To find and access a cluster, Kubectl needs a kubeconfig file. By default, this configuration file is at ~/.kube/config. This file is created when a Kubernetes cluster is created from your machine. However, in this case, download this file from the console.

In the console, choose admin, My Account, Download Configuration and follow the steps to download the kubectl configuration file. Move this file to ~/.kube/config. If kubectl has already been used on your machine before, then this file already exists. Make sure to take a backup of that file first.

Now you can run the commands to view the list of deployments:

~ $ kubectl get deployments --all-namespaces
NAMESPACE         NAME                                    DESIRED   CURRENT   UP-TO-DATE   AVAILABLE   AGE
kube-system       etcd-operator                           1         1         1            1           43m
kube-system       heapster                                1         1         1            1           40m
kube-system       kube-controller-manager                 3         3         3            3           43m
kube-system       kube-dns                                1         1         1            1           43m
kube-system       kube-scheduler                          3         3         3            3           43m
tectonic-system   container-linux-update-operator         1         1         1            1           40m
tectonic-system   default-http-backend                    1         1         1            1           40m
tectonic-system   kube-state-metrics                      1         1         1            1           40m
tectonic-system   kube-version-operator                   1         1         1            1           40m
tectonic-system   prometheus-operator                     1         1         1            1           40m
tectonic-system   tectonic-channel-operator               1         1         1            1           40m
tectonic-system   tectonic-console                        2         2         2            2           40m
tectonic-system   tectonic-identity                       2         2         2            2           40m
tectonic-system   tectonic-ingress-controller             1         1         1            1           40m
tectonic-system   tectonic-monitoring-auth-alertmanager   1         1         1            1           40m
tectonic-system   tectonic-monitoring-auth-prometheus     1         1         1            1           40m
tectonic-system   tectonic-prometheus-operator            1         1         1            1           40m
tectonic-system   tectonic-stats-emitter                  1         1         1            1           40m

This output is similar to the one shown in the console earlier. Now, this kubectl can be used to manage your resources.

Upgrade the Kubernetes cluster

Tectonic allows the in-place upgrade of the cluster. This is an experimental feature as of this release. The clusters can be updated either automatically, or with manual approval.

To perform the update, choose Administration, Cluster Settings. If an earlier Tectonic installer, version 1.6.2 in this case, is used to install the cluster, then this screen would look like the following:

Choose Check for Updates. If any updates are available, choose Start Upgrade. After the upgrade is completed, the screen is refreshed.

This is an experimental feature in this release and so should only be used on clusters that can be easily replaced. This feature may become a fully supported in a future release. For more information about the upgrade process, see Upgrading Tectonic & Kubernetes.

Delete the Kubernetes cluster

Typically, the Kubernetes cluster is a long-running cluster to serve your applications. After its purpose is served, you may delete it. It is important to delete the cluster as this ensures that all resources created by the cluster are appropriately cleaned up.

The easiest way to delete the cluster is using the assets downloaded in the last step of the installer. Extract the downloaded zip file. This creates a directory like <cluster-name>_TIMESTAMP. In that directory, give the following command to delete the cluster:

TERRAFORM_CONFIG=$(pwd)/.terraformrc terraform destroy --force

This destroys the cluster and all associated resources.

You may have forgotten to download the assets. There is a copy of the assets in the directory tectonic/tectonic-installer/darwin/clusters. In this directory, another directory with the name <cluster-name>_TIMESTAMP contains your assets.

Conclusion

This post explained how to manage Kubernetes clusters using the CoreOS Tectonic graphical installer.  For more details, see Graphical Installer with AWS. If the installation does not succeed, see the helpful Troubleshooting tips. After the cluster is created, see the Tectonic tutorials to learn how to deploy, scale, version, and delete an application.

Future posts in this series will explain other ways of creating and running a Kubernetes cluster on AWS.

Arun

Mod your Nerf gun with a Pi

Post Syndicated from Janina Ander original https://www.raspberrypi.org/blog/mod-nerf-gun-pi/

Michael Darby, who blogs at 314reactor, has created a new Raspberry Pi build, and it’s pretty darn cool. Though it’s not the first Raspberry Pi-modded Nerf gun we’ve seen, it’s definitely one of the most complex!

Nerf Gun Ammo Counter / Range Finder – Raspberry Pi

An ammo counter and range finder made from a Raspberry Pi for a Nerf Gun.

Nerf guns

Nerf guns are toy dart guns that have been on the market since the early 1990s. They are popular with kids and adults who enjoy playing paintball, laser tag, and first-person shooter video games. Michael loves Nerf guns, and he wanted to give his toy a sci-fi overhaul, making it look and function more like a gun that an avatar might use in Half-Life, Quake, or Doom.

Modding a Nerf gun

A busy and creative member of the Raspberry Pi community, Michael has previously delighted us with his Windows 98 wristwatch. Now, he has upgraded his Nerf gun with a rangefinder and an ammo counter by adding a Pi, a Pimoroni Rainbow HAT, and some sensors.

Setting up a rangefinder was straightforward. Michael fixed an ultrasonic distance sensor pointing in the direction of the gun’s barrel. Live information about how far away he is from his target is shown on the Rainbow HAT’s alphanumeric display.

View of Michael Darby's nerf gun range finder

To create an ammo counter, Michael had to follow a more circuitous route. Since he couldn’t think of a way to read out how many darts are in the Nerf gun’s magazine, he ended up counting how many darts have been shot instead. This data is collected via a proximity sensor, a device that can measure shorter distances than an ultrasonic sensor. Michael aimed the sensor towards the end of the barrel, attaching it with Blu-Tack.

View of Michael Darby's nerf gun proximity sensor

The number of shots left in the magazine is indicated by the seven LEDs above the Rainbow HAT’s alphanumeric display. The countdown works for more than seven darts, thanks to colour coding: the LEDs count down first in red, then in orange, and finally in green.

In a Python script running on the Pi, Michael has included a default number of shots per magazine. When he changes a magazine, he uses one of the HAT’s buttons as a ‘Reload’ button, resetting the counter. He has also set up the HAT so that the number of available shots can be entered manually instead.

Nerf gun modding tutorial

On Michael’s blog you will find a thorough step-by-step guide to how he created this build. He has also included his code, and links to all the components, software installation guides, and test scripts he has used. So head on over there if you’re keen to mod your own nerf gun like this, and take a look at some of his other projects while you’re there!

Michael welcomes suggestions for how to improve upon his mods, especially for how to count shots in a magazine automatically. Do you have an idea? Let usand himknow in the comments!

Toy mods

Over the years, we’ve covered quite a few fun toy upgrades, and some that may have to be approached with caution. The Pi-powered busy board for babies, the ‘weaponized’ teddy bear, and the inevitable smart Fisher Price phone are just a few from our archives.

What’s your favourite childhood toy, and how could it be improved by the addition of a Pi? Share your ideas with us in the comments below.

The post Mod your Nerf gun with a Pi appeared first on Raspberry Pi.

Time-lapse Visualizes Game of Thrones Piracy Around The Globe

Post Syndicated from Ernesto original https://torrentfreak.com/time-lapse-visualizes-game-of-thrones-piracy-around-the-globe-17-730/

Game of Thrones has been the most pirated TV-show online for years, and this isn’t expected to change anytime soon.

While most of today’s piracy takes place through streaming services, BitTorrent traffic remains significant as well. The show’s episodes are generally downloaded millions of times each, by people from all over the world.

In recent years there have been several attempts to quantify this piracy bonanza. While MILLIONS of downloads make for a good headline, there are some other trends worth looking at as well.

TorrentFreak spoke to Abigail De Kosnik, an Associate Professor at the University of California, Berkeley. Together with computer scientist and artist Benjamin De Kosnik, she runs the BitTorrent-oriented research project “alpha60.”

The goal of alpha60 is to quantify and map BitTorrent activity around various media titles, to make this “shadow economy” visible to media scholars and the general public. Over the past two weeks, they’ve taken a close look at Game of Thrones downloads.

Their tracking software collected swarm data from 72 torrents that were released shortly after the first episode premiered. Before being anonymized, the collected IP-addresses were first translated to geographical locations, to reveal various traffic patterns.

The results, summarized in a white paper, reveal that during the first five days, alpha60 registered an estimated 1.77 million downloads. Of particular interest is the five-day time-lapse of the worldwide swarm activity.

Five-day Game of Thrones piracy timelapse

The time-lapse shows that download patterns vary depending on the time of the day. There is a lot of activity in Asia, but cities such as Athens, Toronto, and Sao Paulo also pop up regularly.

When looking at the absolute numbers, Seoul comes out on top as the Game of Thrones download capital of the world, followed by Athens, São Paulo, Guangzhou, Mumbai, and Bangalore.

Perhaps more interesting is the view of the number of downloads relative to the population, or the “over-pirating” cities, as alpha60 calls them. Here, Dallas comes out on top, before Brisbane, Chicago, Riyadh, Saudi Arabia, Seattle, and Perth.

Of course, VPNs may skew the results somewhat, but overall the data should give a pretty accurate impression of the download traffic around the globe.

Below are the complete top tens of most active cities, both in absolute numbers and relative to the population. Further insights and additional information is available in the full whitepaper, which can be accessed here.

Note: The download totals reported by alpha60 are significantly lower than the MUSO figures that came out last week. Alpha60 stresses, however, that their methods and data are accurate. MUSO, for its part, has made some dubious claims in the past.

Most downloads (absolute)

1 Seoul, Rep. of Korea
2 Athens, Greece
3 São Paulo, Brazil
4 Guangzhou, China
5 Mumbai, India
6 Bangalore, India
7 Shanghai, China
8 Riyadh, Saudi Arabia
9 Delhi, India
10 Beijing, China

Most downloads (relative)

1 Dallas, USA
2 Brisbane, Australia
3 Chicago, USA
4 Riyadh, Saudi Arabia
5 Seattle, USA
6 Perth, Australia
7 Phoenix, USA
8 Toronto, Canada
9 Athens, Greece
10 Guangzhou, China

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Prepare for the OWASP Top 10 Web Application Vulnerabilities Using AWS WAF and Our New White Paper

Post Syndicated from Jeff Barr original https://aws.amazon.com/blogs/aws/prepare-for-the-owasp-top-10-web-application-vulnerabilities-using-aws-waf-and-our-new-white-paper/

Are you aware of the Open Web Application Security Project (OWASP) and the work that they do to improve the security of web applications? Among many other things, they publish a list of the 10 most critical application security flaws, known as the OWASP Top 10. The release candidate for the 2017 version contains a consensus view of common vulnerabilities often found in web sites and web applications.

AWS WAF, as I described in my blog post, New – AWS WAF, helps to protect your application from application-layer attacks such as SQL injection and cross-site scripting. You can create custom rules to define the types of traffic that are accepted or rejected.

Our new white paper, Use AWS WAF to Mitigate OWASP’s Top 10 Web Application Vulnerabilities, shows you how to put AWS WAF to use. Going far beyond a simple recommendation to “use WAF,” it includes detailed, concrete mitigation strategies and implementation details for the most important items in the OWASP Top 10 (formally known as A1 through A10):

Download Today
The white paper provides background and context for each vulnerability, and then shows you how to create WAF rules to identify and block them. It also provides some defense-in-depth recommendations, including a very cool suggestion to use [email protected] to prevalidate the parameters supplied to HTTP requests.

The white paper links to a companion AWS CloudFormation template that creates a Web ACL, along with the recommended condition types and rules. You can use this template as a starting point for your own work, adding more condition types and rules as desired.

AWSTemplateFormatVersion: '2010-09-09'
Description: AWS WAF Basic OWASP Example Rule Set

## ::PARAMETERS::
## Template parameters to be configured by user
Parameters:
  stackPrefix:
    Type: String
    Description: The prefix to use when naming resources in this stack. Normally we would use the stack name, but since this template can be us\
ed as a resource in other stacks we want to keep the naming consistent. No symbols allowed.
    ConstraintDescription: Alphanumeric characters only, maximum 10 characters
    AllowedPattern: ^[a-zA-z0-9]+$
    MaxLength: 10
    Default: generic
  stackScope:
    Type: String
    Description: You can deploy this stack at a regional level, for regional WAF targets like Application Load Balancers, or for global targets\
, such as Amazon CloudFront distributions.
    AllowedValues:
      - Global
      - Regional
    Default: Regional
...

Attend our Webinar
If you would like to learn more about the topics discussed in this new white paper, please plan to attend our upcoming webinar, Secure Your Applications with AWS Web Application Firewall (WAF) and AWS Shield. On July 12, 2017, my colleagues Jeffrey Lyon and Sundar Jayashekar will show you how to secure your web applications and how to defend against the most common Layer 7 attacks.

Jeff;

 

 

 

Kubernetes 1.7 released

Post Syndicated from corbet original https://lwn.net/Articles/726900/rss

Version
1.7
of the Kubernetes orchestration system is out.
At-a-glance, security enhancements in this release include encrypted secrets, network policy for pod-to-pod communication, node authorizer to limit kubelet access and client / server TLS certificate rotation.

For those of you running scale-out databases on Kubernetes, this release has a major feature that adds automated updates to StatefulSets and enhances updates for DaemonSets. We are also announcing alpha support for local storage and a burst mode for scaling StatefulSets faster.”

The Secret Code of Beatrix Potter

Post Syndicated from Bruce Schneier original https://www.schneier.com/blog/archives/2017/06/the_secret_code.html

Interesting:

As codes go, Potter’s wasn’t inordinately complicated. As Wiltshire explains, it was a “mono-alphabetic substitution cipher code,” in which each letter of the alphabet was replaced by a symbol­ — the kind of thing they teach you in Cub Scouts. The real trouble was Potter’s own fluency with it. She quickly learned to write the code so fast that each sheet looked, even to Linder’s trained eye, like a maze of scribbles.

Digital painter rundown

Post Syndicated from Eevee original https://eev.ee/blog/2017/06/17/digital-painter-rundown/

Another patron post! IndustrialRobot asks:

You should totally write about drawing/image manipulation programs! (Inspired by https://eev.ee/blog/2015/05/31/text-editor-rundown/)

This is a little trickier than a text editor comparison — while most text editors are cross-platform, quite a few digital art programs are not. So I’m effectively unable to even try a decent chunk of the offerings. I’m also still a relatively new artist, and image editors are much harder to briefly compare than text editors…

Right, now that your expectations have been suitably lowered:

Krita

I do all of my digital art in Krita. It’s pretty alright.

Okay so Krita grew out of Calligra, which used to be KOffice, which was an office suite designed for KDE (a Linux desktop environment). I bring this up because KDE has a certain… reputation. With KDE, there are at least three completely different ways to do anything, each of those ways has ludicrous amounts of customization and settings, and somehow it still can’t do what you want.

Krita inherits this aesthetic by attempting to do literally everything. It has 17 different brush engines, more than 70 layer blending modes, seven color picker dockers, and an ungodly number of colorspaces. It’s clearly intended primarily for drawing, but it also supports animation and vector layers and a pretty decent spread of raster editing tools. I just right now discovered that it has Photoshop-like “layer styles” (e.g. drop shadow), after a year and a half of using it.

In fairness, Krita manages all of this stuff well enough, and (apparently!) it manages to stay out of your way if you’re not using it. In less fairness, they managed to break erasing with a Wacom tablet pen for three months?

I don’t want to rag on it too hard; it’s an impressive piece of work, and I enjoy using it! The emotion it evokes isn’t so much frustration as… mystified bewilderment.

I once filed a ticket suggesting the addition of a brush size palette — a panel showing a grid of fixed brush sizes that makes it easy to switch between known sizes with a tablet pen (and increases the chances that you’ll be able to get a brush back to the right size again). It’s a prominent feature of Paint Tool SAI and Clip Studio Paint, and while I’ve never used either of those myself, I’ve seen a good few artists swear by it.

The developer response was that I could emulate the behavior by creating brush presets. But that’s flat-out wrong: getting the same effect would require creating a ton of brush presets for every brush I have, plus giving them all distinct icons so the size is obvious at a glance. Even then, it would be much more tedious to use and fill my presets with junk.

And that sort of response is what’s so mysterious to me. I’ve never even been able to use this feature myself, but a year of amateur painting with Krita has convinced me that it would be pretty useful. But a developer didn’t see the use and suggested an incredibly tedious alternative that only half-solves the problem and creates new ones. Meanwhile, of the 28 existing dockable panels, a quarter of them are different ways to choose colors.

What is Krita trying to be, then? What does Krita think it is? Who precisely is the target audience? I have no idea.


Anyway, I enjoy drawing in Krita well enough. It ships with a respectable set of brushes, and there are plenty more floating around. It has canvas rotation, canvas mirroring, perspective guide tools, and other art goodies. It doesn’t colordrop on right click by default, which is arguably a grave sin (it shows a customizable radial menu instead), but that’s easy to rebind. It understands having a background color beneath a bottom transparent layer, which is very nice. You can also toggle any brush between painting and erasing with the press of a button, and that turns out to be very useful.

It doesn’t support infinite canvases, though it does offer a one-click button to extend the canvas in a given direction. I’ve never used it (and didn’t even know what it did until just now), but would totally use an infinite canvas.

I haven’t used the animation support too much, but it’s pretty nice to have. Granted, the only other animation software I’ve used is Aseprite, so I don’t have many points of reference here. It’s a relatively new addition, too, so I assume it’ll improve over time.

The one annoyance I remember with animation was really an interaction with a larger annoyance, which is: working with selections kind of sucks. You can’t drag a selection around with the selection tool; you have to switch to the move tool. That would be fine if you could at least drag the selection ring around with the selection tool, but you can’t do that either; dragging just creates a new selection.

If you want to copy a selection, you have to explicitly copy it to the clipboard and paste it, which creates a new layer. Ctrl-drag with the move tool doesn’t work. So then you have to merge that layer down, which I think is where the problem with animation comes in: a new layer is non-animated by default, meaning it effectively appears in any frame, so simply merging it down with merge it onto every single frame of the layer below. And you won’t even notice until you switch frames or play back the animation. Not ideal.

This is another thing that makes me wonder about Krita’s sense of identity. It has a lot of fancy general-purpose raster editing features that even GIMP is still struggling to implement, like high color depth support and non-destructive filters, yet something as basic as working with selections is clumsy. (In fairness, GIMP is a bit clumsy here too, but it has a consistent notion of “floating selection” that’s easy enough to work with.)

I don’t know how well Krita would work as a general-purpose raster editor; I’ve never tried to use it that way. I can’t think of anything obvious that’s missing. The only real gotcha is that some things you might expect to be tools, like smudge or clone, are just types of brush in Krita.

GIMP

Ah, GIMP — open source’s answer to Photoshop.

It’s very obviously intended for raster editing, and I’m pretty familiar with it after half a lifetime of only using Linux. I even wrote a little Scheme script for it ages ago to automate some simple edits to a couple hundred files, back before I was aware of ImageMagick. I don’t know what to say about it, specifically; it’s fairly powerful and does a wide variety of things.

In fact I’d say it’s almost frustratingly intended for raster editing. I used GIMP in my first attempts at digital painting, before I’d heard of Krita. It was okay, but so much of it felt clunky and awkward. Painting is split between a pencil tool, a paintbrush tool, and an airbrush tool; I don’t really know why. The default brushes are largely uninteresting. Instead of brush presets, there are tool presets that can be saved for any tool; it’s a neat idea, but doesn’t feel like a real substitute for brush presets.

Much of the same functionality as Krita is there, but it’s all somehow more clunky. I’m sure it’s possible to fiddle with the interface to get something friendlier for painting, but I never really figured out how.

And then there’s the surprising stuff that’s missing. There’s no canvas rotation, for example. There’s only one type of brush, and it just stamps the same pattern along a path. I don’t think it’s possible to smear or blend or pick up color while painting. The only way to change the brush size is via the very sensitive slider on the tool options panel, which I remember being a little annoying with a tablet pen. Also, you have to specifically enable tablet support? It’s not difficult or anything, but I have no idea why the default is to ignore tablet pressure and treat it like a regular mouse cursor.

As I mentioned above, there’s also no support for high color depth or non-destructive editing, which is honestly a little embarrassing. Those are the major things Serious Professionals™ have been asking for for ages, and GIMP has been trying to provide them, but it’s taking a very long time. The first signs of GEGL, a new library intended to provide these features, appeared in GIMP 2.6… in 2008. The last major release was in 2012. GIMP has been working on this new plumbing for almost as long as Krita’s entire development history. (To be fair, Krita has also raised almost €90,000 from three Kickstarters to fund its development; I don’t know that GIMP is funded at all.)

I don’t know what’s up with GIMP nowadays. It’s still under active development, but the exact status and roadmap are a little unclear. I still use it for some general-purpose editing, but I don’t see any reason to use it to draw.

I do know that canvas rotation will be in the next release, and there was some experimentation with embedding MyPaint’s brush engine (though when I tried it it was basically unusable), so maybe GIMP is interested in wooing artists? I guess we’ll see.

MyPaint

Ah, MyPaint. I gave it a try once. Once.

It’s a shame, really. It sounds pretty great: specifically built for drawing, has very powerful brushes, supports an infinite canvas, supports canvas rotation, has a simple UI that gets out of your way. Perfect.

Or so it seems. But in MyPaint’s eagerness to shed unnecessary raster editing tools, it forgot a few of the more useful ones. Like selections.

MyPaint has no notion of a selection, nor of copy/paste. If you want to move a head to align better to a body, for example, the sanctioned approach is to duplicate the layer, erase the head from the old layer, erase everything but the head from the new layer, then move the new layer.

I can’t find anything that resembles HSL adjustment, either. I guess the workaround for that is to create H/S/L layers and floodfill them with different colors until you get what you want.

I can’t work seriously without these basic editing tools. I could see myself doodling in MyPaint, but Krita works just as well for doodling as for serious painting, so I’ve never gone back to it.

Drawpile

Drawpile is the modern equivalent to OpenCanvas, I suppose? It lets multiple people draw on the same canvas simultaneously. (I would not recommend it as a general-purpose raster editor.)

It’s a little clunky in places — I sometimes have bugs where keyboard focus gets stuck in the chat, or my tablet cursor becomes invisible — but the collaborative part works surprisingly well. It’s not a brush powerhouse or anything, and I don’t think it allows textured brushes, but it supports tablet pressure and canvas rotation and locked alpha and selections and whatnot.

I’ve used it a couple times, and it’s worked well enough that… well, other people made pretty decent drawings with it? I’m not sure I’ve managed yet. And I wouldn’t use it single-player. Still, it’s fun.

Aseprite

Aseprite is for pixel art so it doesn’t really belong here at all. But it’s very good at that and I like it a lot.

That’s all

I can’t name any other serious contender that exists for Linux.

I’m dimly aware of a thing called “Photo Shop” that’s more intended for photos but functions as a passable painter. More artists seem to swear by Paint Tool SAI and Clip Studio Paint. Also there’s Paint.NET, but I have no idea how well it’s actually suited for painting.

And that’s it! That’s all I’ve got. Krita for drawing, GIMP for editing, Drawpile for collaborative doodling.

Global Entertainment Giants Form Massive Anti-Piracy Coalition

Post Syndicated from Andy original https://torrentfreak.com/global-entertainment-giants-form-massive-anti-piracy-coalition-170613/

It’s not unusual for companies within the same area of business to collaborate in order to combat piracy. The studios and labels that form the MPAA and RIAA, for example, have doing just that for decades.

Today, however, an unprecedented number of global content creators and distribution platforms have announced the formation of a brand new coalition to collaboratively fight Internet piracy on a global scale.

The Alliance for Creativity and Entertainment (ACE) is a coalition of 30 companies that reads like a who’s who of the global entertainment market. In alphabetical order the members are:

Amazon, AMC Networks, BBC Worldwide, Bell Canada and Bell Media, Canal+ Group, CBS Corporation, Constantin Film, Foxtel, Grupo Globo, HBO, Hulu, Lionsgate, Metro-Goldwyn-Mayer (MGM), Millennium Media, NBCUniversal, Netflix, Paramount Pictures, SF Studios, Sky, Sony Pictures Entertainment, Star India, Studio Babelsberg, STX Entertainment, Telemundo, Televisa, Twentieth Century Fox, Univision Communications Inc., Village Roadshow, The Walt Disney Company, and Warner Bros. Entertainment Inc.

In a joint announcement today, ACE notes that there are now more than 480 services available for consumers to watch films and TV programs online. However, despite that abundance of content, piracy continues to pose a threat to creators and the economy.

“Films and television shows can often be found on pirate sites within days – and in many cases hours – of release,” ACE said in a statement.

“Last year, there were an estimated 5.4 billion downloads of pirated wide release films and primetime television and VOD shows using peer-to-peer protocols worldwide. There were also an estimated 21.4 billion total visits to streaming piracy sites worldwide across both desktops and mobile devices in 2016.”

Rather than the somewhat fragmented anti-piracy approach currently employed by ACE members separately, the coalition will present a united front of all major content creators and distributors, with a mission to cooperate and expand in order to minimize the threat.

At the center of the alliance appears to be the MPAA. ACE reports that the anti-piracy resources of the Hollywood group will be used “in concert” with the existing anti-piracy departments of the member companies.

Unprecedented scale aside, ACE’s modus operandi will be a familiar one.

The coalition says it will work closely with law enforcement to shut down pirate sites and services, file civil litigation, and forge new relationships with other content protection groups. It will also strive to reach voluntary anti-piracy agreements with other interested parties across the Internet.

MPAA chief Chris Dodd, whose group will play a major role in ACE, welcomed the birth of the alliance.

“ACE, with its broad coalition of creators from around the world, is designed, specifically, to leverage the best possible resources to reduce piracy,” Dodd said.

“For decades, the MPAA has been the gold standard for antipiracy enforcement. We are proud to provide the MPAA’s worldwide antipiracy resources and the deep expertise of our antipiracy unit to support ACE and all its initiatives.”

The traditionally non-aggressive BBC described ACE as “hugely important” in the fight against “theft and illegal distribution”, with Netflix noting that even its creative strategies for dealing with piracy are in need of assistance.

“While we’re focused on providing a great consumer experience that ultimately discourages piracy, there are still bad players around the world trying to profit off the hard work of others,” said Netflix General Counsel, David Hyman.

“By joining ACE, we will work together, share knowledge, and leverage the group’s combined anti-piracy resources to address the global online piracy problem.”

It’s likely that the creation of ACE will go down as a landmark moment in the fight against piracy. Never before has such a broad coalition promised to pool resources on such a grand and global scale. That being said, with great diversity comes the potential for greatly diverging opinions, so only time will tell if this coalition can really hold together.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

EU Piracy Filter Proposals Being Sabotaged Says MEP Julia Reda

Post Syndicated from Andy original https://torrentfreak.com/eu-piracy-filter-proposals-being-sabotaged-says-mep-julia-reda-170601/

After complaining about “rogue” sites and services for more than 15 years, the music business is now concentrating on the so-called “value gap”.

The theory is that platforms like YouTube are able to avoid paying expensive licensing fees for music by exploiting the safe harbor protections of the DMCA and similar legislation. Effectively, pirate music uploaded by site users becomes available to the public at no cost to the platform and due to safe harbor rules, there is no legal recourse for the labels.

To close this loophole, the EU is currently moving forward with reforms that could limit the protections currently enjoyed by platforms like YouTube. In short, sites that allow users to upload content will be forced to partner up with content providers to aggressively filter all user uploads for infringing content, thus limiting the number of infringing works eventually communicated to the public.

Even as they stand the proposals are being heavily protested (1,2,3) but according to Member of the European Parliament Julia Reda, a new threat has appeared on the horizon.

Ahead of a crucial June 8 vote on how to move forward, Reda says that some in the corridors of power are now “resorting to dirty tactics” to defend and extend the already “disastrous plans” by any means.

Specifically, Reda accuses MEP Pascal Arimont from the European People’s Party (EPP) of trying to sabotage the Parliamentary process, by going behind negotiators’ backs and pushing a new filtering proposal text that makes the “original bad proposal look tame in comparison.”

Reda says that in the face of other MEPs’ efforts to come up with a compromise text upon which all of them are agreed, Arimont has been encouraging some MEPs to rebel against their negotiators. He wants them to support his own super-aggressive “alternative compromise” text that shows disregard for the Charter of Fundamental Rights and principles of EU law.

Arimont’s text is certainly an interesting read and a document that could have been formulated by the record labels themselves. It tightens just about every aspect of the text proposed by the Commission while running all over the compromise text put together by Reda and other MEPs.

For example, where others are agreed on the phrase “Where information society
service providers store and provide access to the public to copyright protected works or other subject-matter uploaded by their users”, Arimont’s text removes the key word “store”.

This means that his filtering demands go beyond sites like YouTube that actually host content, to encompass those that merely carry links. It doesn’t take much imagination to see the potential for chaos there.

Also, where the Commission is happy with the proposed rules only affecting sites that store and provide access to “large amounts” of copyright protected works uploaded by users, Arimont wants the “store” part removed and “large” changed to “significant”.

“[Arimont] doesn’t want [filtering rules] to just apply to services hosting ‘large amounts’ of copyrighted content, as proposed by the Commission, but to any service facilitating the availability of such content, even if the service is not actually hosting anything at all,” Reda explains.

The text also ignores proposals by MEPs that anti-piracy measures to be taken by platforms should be proportionate to their profit and size. That being said, Arimont does accept that start-ups would probably face “insurmountable financial obstacles” if required to deploy filtering technologies, so he proposes they should be exempt.

While that sounds reasonable, any business that’s over five years old would need to comply and Reda warns that the threshold could be set particularly low.

“So if you’ve been self-employed for more than 5 years, rules the Commission wrote with the likes of YouTube and Facebook in mind would suddenly also apply to your personal website,” she warns.

But Arimont’s proposal goes further still and has the potential to have privacy advocates up in arms.

In order to check that all user uploaded content is non-infringing, platforms would necessarily be required to check every single piece of data uploaded by users. This raises considerable privacy concerns and potential conflicts with EU law, for instance with Article 15 of the E-Commerce Directive, which prohibits general monitoring obligations for service providers.

Indeed, during the Netlog filtering case that went before the EU Court of Justice (CJEU) in 2012, the Court held that requiring an online platform to install broad piracy filters is incompatible with EU law.

Nevertheless, Arimont sees bridging the “value gap” as somehow different.

“The use of technical measures is essential for the functioning of online licensing and rights management purposes. Such technical measures therefore do not require the identity of uploaders and hence do not pose any risk for privacy of individual end users,” his proposal reads.

“Furthermore, those technical measures involve a highly targeted technical cooperation of rightholders and information society service providers based on the data provided by rightholders, and therefore do not lead to general obligation to monitor and find facts about the content.”

But what should really raise alarm bells for user-uploaded content platforms is how Arimont proposes to strip them of their safe harbor protections, if they optimize the presentation of that content to users. That, as Reda points out, could be something as benign as listing content in alphabetical order.

Julia Reda’s article has some information at the end for those who want to protest Arimont’s proposals (pdf).

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Grafana 4.3 Release

Post Syndicated from Blogs on Grafana Labs Blog original https://grafana.com/blog/2017/05/23/grafana-4.3-release/

Grafana v4.3 is now available for download.

Release Highlights

  • New Heatmap Panel
  • Graph Panel Histogram Mode
  • Elasticsearch Histogram Aggregation
  • Prometheus Table data format
  • New MySQL Data Source (alpha version to get some early feedback)
  • Dashed lines in the Graph Panel
  • 60+ small fixes and improvements, most of them contributed by our fantastic community!

Check out the New Features in v4.3 Dashboard on the Grafana Play site for
a showcase of these new features.

Histogram Support

A Histogram is a kind of bar chart that groups numbers into ranges, often called buckets or bins. Taller bars show that more data falls in that range.

The Graph Panel now supports Histograms.

Histogram Aggregation Support for Elasticsearch

Elasticsearch is the only supported data source that can return pre-bucketed data (data that is already grouped into ranges). With other data sources there is a risk of returning inaccurate data in a histogram due to using already aggregated data rather than raw data. This release adds support for Elasticsearch pre-bucketed data that can be visualized with the new Heatmap Panel.

Heatmap Panel

The Histogram support in the Graph Panel does not show changes over time – it aggregates all the data together for the chosen time range. To visualize a histogram over time, we have built a new Heatmap Panel.

Every column in a Heatmap is a histogram snapshot. Instead of visualizing higher values with higher bars, a heatmap visualizes higher values with color. The histogram shown above is equivalent to one column in the heatmap shown below.

The Heatmap panel also works with Elasticsearch Histogram Aggregations for more accurate server side bucketing.

MySQL Data Source (alpha)

This release includes a new core data source for MySQL. You can write any possible MySQL query and format it as either Time Series or Table Data allowing it be used with the Graph Panel, Table Panel and SingleStat Panel.

We are still working on the MySQL data source. As it’s missing some important features, like templating and macros and future changes could be breaking, we are
labeling the state of the data source as Alpha. Instead of holding up the release of v4.3 we are including it in its current shape to get some early feedback. So please try it out and let us know what you think on twitter or on our community forum. Is this a feature that you would use? How can we make it better?

The query editor can show the generated and interpolated SQL that is sent to the MySQL server.

The query editor will also show any errors that resulted from running the query (very useful when you have a syntax error!).

Dashed Lines in the Graph Panel

A new Dashes option has been added to Series overrides in the Graph Panel.

Health Check Endpoint

Now you can monitor the monitoring with the Health Check Endpoint! The new /api/health endpoint returns HTTP 200 OK if everything is up and HTTP 503 Error if the Grafana database cannot be pinged.

Lazy Load Panels

Grafana now delays loading panels until they become visible (scrolled into view). This means panels out of view are not sending requests thereby reducing the load on your time series database.

Prometheus – Table Data (column per label)

The Prometheus data source now supports the Table Data format by automatically assigning a column to a label. This makes it really easy to browse data in the table panel.

Improved Alerting Annotation

When an alert is fired, the annotation on the graph now shows information about execution errors or if it was fired due to no data.

Other Highlights From The Changelog

Changes:

  • Table: Support to change column header text #3551
  • InfluxDB: influxdb query builder support for ORDER BY and LIMIT (allows TOPN queries) #6065 Support influxdb’s SLIMIT Feature #7232 thx @thuck
  • Graph: Support auto grid min/max when using log scale #3090, thx @bigbenhur
  • Prometheus: Make Prometheus query field a textarea #7663, thx @hagen1778
  • Server: Support listening on a UNIX socket #4030, thx @mitjaziv

Fixes:

  • MySQL: 4-byte UTF8 not supported when using MySQL database (allows Emojis in Dashboard Names) #7958
  • Dashboard: Description tooltip is not fully displayed #7970

Lots more enhancements and fixes can be found in the Changelog.

Download

Head to the v4.3 download page for download links & instructions.

Thanks

A big thanks to all the Grafana users who contribute by submitting PRs, bug reports, helping out on our community site and providing feedback!

Grafana 4.3 Beta Release

Post Syndicated from Blogs on Grafana Labs Blog original https://grafana.com/blog/2017/05/12/grafana-4.3-beta-release/

Grafana v4.3 Beta is now available for download.

Release Highlights

  • New Heatmap Panel
  • Graph Panel Histogram Mode
  • Elasticsearch Histogram Aggregation
  • Prometheus Table data format
  • New MySQL Data Source (alpha version to get some early feedback)
  • 60+ small fixes and improvements, most of them contributed by our fantastic community!

Check out the New Features in v4.3 Dashboard on the Grafana Play site for
a showcase of these new features.

Histogram Support

A Histogram is a kind of bar chart that groups numbers into ranges, often called buckets or bins. Taller bars show that more data falls in that range.

The Graph Panel now supports Histograms.

Histogram Aggregation Support for Elasticsearch

Elasticsearch is the only supported data source that can return pre-bucketed data (data that is already grouped into ranges). With other data sources there is a risk of returning inaccurate data in a histogram due to using already aggregated data rather than raw data. This release adds support for Elasticsearch pre-bucketed data that can be visualized with the new Heatmap Panel.

Heatmap Panel

The Histogram support in the Graph Panel does not show changes over time – it aggregates all the data together for the chosen time range. To visualize a histogram over time, we have built a new Heatmap Panel.

Every column in a Heatmap is a histogram snapshot. Instead of visualizing higher values with higher bars, a heatmap visualizes higher values with color. The histogram shown above is equivalent to one column in the heatmap shown below.

The Heatmap panel also works with Elasticsearch Histogram Aggregations for more accurate server side bucketing.

MySQL Data Source (alpha)

This release includes a new core data source for MySQL. You can write any possible MySQL query and format it as either Time Series or Table Data allowing it be used with the Graph Panel, Table Panel and SingleStat Panel.

We are still working on the MySQL data source. As it’s missing some important features, like templating and macros and future changes could be breaking, we are
labeling the state of the data source as Alpha. Instead of holding up the release of v4.3 we are including it in its current shape to get some early feedback. So please try it out and let us know what you think on twitter or on our community forum. Is this a feature that you would use? How can we make it better?

The query editor can show the generated and interpolated SQL that is sent to the MySQL server.

The query editor will also show any errors that resulted from running the query (very useful when you have a syntax error!).

Health Check Endpoint

Now you can monitor the monitoring with the Health Check Endpoint! The new /api/health endpoint returns HTTP 200 OK if everything is up and HTTP 503 Error if the Grafana database cannot be pinged.

Lazy Load Panels

Grafana now delays loading panels until they become visible (scrolled into view). This means panels out of view are not sending requests thereby reducing the load on your time series database.

Prometheus – Table Data (column per label)

The Prometheus data source now supports the Table Data format by automatically assigning a column to a label. This makes it really easy to browse data in the table panel.

Other Highlights From The Changelog

Changes:

  • Table: Support to change column header text #3551
  • InfluxDB: influxdb query builder support for ORDER BY and LIMIT (allows TOPN queries) #6065 Support influxdb’s SLIMIT Feature #7232 thx @thuck
  • Graph: Support auto grid min/max when using log scale #3090, thx @bigbenhur
  • Prometheus: Make Prometheus query field a textarea #7663, thx @hagen1778
  • Server: Support listening on a UNIX socket #4030, thx @mitjaziv

Fixes:

  • MySQL: 4-byte UTF8 not supported when using MySQL database (allows Emojis in Dashboard Names) #7958
  • Dashboard: Description tooltip is not fully displayed #7970

Lots more enhancements and fixes can be found in the Changelog.

Download

Head to the v4.3 download page for download links & instructions.

Thanks

A big thanks to all the Grafana users who contribute by submitting PRs, bug reports, helping out on our community site and providing feedback!

Tor 0.3.0.6 is released: a new series is stable

Post Syndicated from ris original https://lwn.net/Articles/721241/rss

Tor 0.3.0.6, the first stable release of the Tor 0.3.0 series, is available. “With the 0.3.0 series, clients and relays now use Ed25519 keys to authenticate their link connections to relays, rather than the old RSA1024 keys that they used before. (Circuit crypto has been Curve25519-authenticated since 0.2.4.8-alpha.) We have also replaced the guard selection and replacement algorithm to behave more robustly in the presence of unreliable networks, and to resist guard- capture attacks.