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Raspbian Stretch has arrived for Raspberry Pi

Post Syndicated from Simon Long original https://www.raspberrypi.org/blog/raspbian-stretch/

It’s now just under two years since we released the Jessie version of Raspbian. Those of you who know that Debian run their releases on a two-year cycle will therefore have been wondering when we might be releasing the next version, codenamed Stretch. Well, wonder no longer – Raspbian Stretch is available for download today!

Disney Pixar Toy Story Raspbian Stretch Raspberry Pi

Debian releases are named after characters from Disney Pixar’s Toy Story trilogy. In case, like me, you were wondering: Stretch is a purple octopus from Toy Story 3. Hi, Stretch!

The differences between Jessie and Stretch are mostly under-the-hood optimisations, and you really shouldn’t notice any differences in day-to-day use of the desktop and applications. (If you’re really interested, the technical details are in the Debian release notes here.)

However, we’ve made a few small changes to our image that are worth mentioning.

New versions of applications

Version 3.0.1 of Sonic Pi is included – this includes a lot of new functionality in terms of input/output. See the Sonic Pi release notes for more details of exactly what has changed.

Raspbian Stretch Raspberry Pi

The Chromium web browser has been updated to version 60, the most recent stable release. This offers improved memory usage and more efficient code, so you may notice it running slightly faster than before. The visual appearance has also been changed very slightly.

Raspbian Stretch Raspberry Pi

Bluetooth audio

In Jessie, we used PulseAudio to provide support for audio over Bluetooth, but integrating this with the ALSA architecture used for other audio sources was clumsy. For Stretch, we are using the bluez-alsa package to make Bluetooth audio work with ALSA itself. PulseAudio is therefore no longer installed by default, and the volume plugin on the taskbar will no longer start and stop PulseAudio. From a user point of view, everything should still work exactly as before – the only change is that if you still wish to use PulseAudio for some other reason, you will need to install it yourself.

Better handling of other usernames

The default user account in Raspbian has always been called ‘pi’, and a lot of the desktop applications assume that this is the current user. This has been changed for Stretch, so now applications like Raspberry Pi Configuration no longer assume this to be the case. This means, for example, that the option to automatically log in as the ‘pi’ user will now automatically log in with the name of the current user instead.

One other change is how sudo is handled. By default, the ‘pi’ user is set up with passwordless sudo access. We are no longer assuming this to be the case, so now desktop applications which require sudo access will prompt for the password rather than simply failing to work if a user without passwordless sudo uses them.

Scratch 2 SenseHAT extension

In the last Jessie release, we added the offline version of Scratch 2. While Scratch 2 itself hasn’t changed for this release, we have added a new extension to allow the SenseHAT to be used with Scratch 2. Look under ‘More Blocks’ and choose ‘Add an Extension’ to load the extension.

This works with either a physical SenseHAT or with the SenseHAT emulator. If a SenseHAT is connected, the extension will control that in preference to the emulator.

Raspbian Stretch Raspberry Pi

Fix for Broadpwn exploit

A couple of months ago, a vulnerability was discovered in the firmware of the BCM43xx wireless chipset which is used on Pi 3 and Pi Zero W; this potentially allows an attacker to take over the chip and execute code on it. The Stretch release includes a patch that addresses this vulnerability.

There is also the usual set of minor bug fixes and UI improvements – I’ll leave you to spot those!

How to get Raspbian Stretch

As this is a major version upgrade, we recommend using a clean image; these are available from the Downloads page on our site as usual.

Upgrading an existing Jessie image is possible, but is not guaranteed to work in every circumstance. If you wish to try upgrading a Jessie image to Stretch, we strongly recommend taking a backup first – we can accept no responsibility for loss of data from a failed update.

To upgrade, first modify the files /etc/apt/sources.list and /etc/apt/sources.list.d/raspi.list. In both files, change every occurrence of the word ‘jessie’ to ‘stretch’. (Both files will require sudo to edit.)

Then open a terminal window and execute

sudo apt-get update
sudo apt-get -y dist-upgrade

Answer ‘yes’ to any prompts. There may also be a point at which the install pauses while a page of information is shown on the screen – hold the ‘space’ key to scroll through all of this and then hit ‘q’ to continue.

Finally, if you are not using PulseAudio for anything other than Bluetooth audio, remove it from the image by entering

sudo apt-get -y purge pulseaudio*

The post Raspbian Stretch has arrived for Raspberry Pi appeared first on Raspberry Pi.

Popcorn Time Devs Help Streaming Aggregator Reelgood to ‘Fix Piracy’

Post Syndicated from Ernesto original https://torrentfreak.com/popcorn-time-devs-help-streaming-aggregator-reelgood-to-fix-piracy-170812/

During the fall of 2015, the MPAA shut down one of the most prominent pirate streaming services, Popcorn Time fork PopcornTime.io.

While the service was found to be clearly infringing, many of the developers didn’t set out to break the law. Most of all, they wanted to provide the public with easy access to their favorite movies and TV-shows.

Fast forward nearly two years and several of these Popcorn Time developers are still on the same quest. The main difference is that they now operate on the safe side of the law.

The startup they’re working with is called Reelgood, which can be best described as a streaming service aggregator. The San-Francisco based company, founded by ex-Facebook employee David Sanderson, recently raised $3.5 million and has opened its doors to the public.

The goal of Reelgood is similar to Popcorn Time in the way that it aims to be the go-to tool for people to access their entertainment. Instead of using pirate sources, however, Reelgood stitches together content from various legal platforms, both paid and free.

Reelgood

TorrentFreak spoke to former Popcorn Time developer Luigi Poole, who’s leading the charge on the development of Reelgood’s web app. He stresses that the increasing fragmentation of streaming services, which drives some people to pirate sites, is one of the problems Reelgood hopes to fix.

“There’s a misconception that torrenting is done by bad people who don’t want to pay for content. I’d say, in the vast majority of cases, torrenting is a symptom of the massive fragmentation that’s been given as the only legal option to the consumer,” Poole says.

While people have many reasons to pirate, some stick to unauthorized services because it’s simply too cumbersome to dig through all the legal options. Pirate sites have a single interface to all popular movies and TV-shows and legal platforms don’t.

“The modern TV/movie ecosystem is made up of an increasing number of different services. This makes finding content like changing channels, only more complicated. Is that movie you’re about to buy or rent on a service you already pay for? Right now there’s no way to do this other than a cumbersome search using each service’s individual search. Time to go digging,” Poole says.

“We believe this is the main reason people torrent — it’s just easier, given that the legal options presented to us are essentially a ‘go fetch’ treasure hunt,” he adds.

Flipping that channel on an old school television often beats the online streaming experience. That is, for those who want more than Netflix alone.

And the problem isn’t going away anytime soon. As we reported earlier this week, there’s a trend towards more fragmentation, instead of less. Disney is pulling some of its most popular content from the US Netflix in 2019, keeping piracy relevant.

“The untold story is that consumers are throwing up their hands with all this fragmentation, and turning to torrenting not because it’s free, but because it’s intuitive and easy,” Poole says.

“Reelgood fixes this problem by acting as a pirate site interface for every legal option, sort of like a TV guide to anything streaming, also giving you notifications anytime something is new, letting you track when certain content becomes available, and not only telling you where it’s available but taking you straight there with one click to play.”

Reelgood can be seen as a defragmentation tool, creating a uniform interface for all the legal platforms people have access to. In addition to paid services such as Netflix and HBO, it also lists free content from Fox, CBS, Crackle, and many other providers.

TorrentFreak took it for a spin and it indeed works as advertised. Simply add your streaming service accounts and all will be bundled into an elegant and uniform interface that allows you to watch and track everything with a single click.

The service is still limited to US libraries but there are already plans to expand it to other countries, which is promising. While it may not eradicate piracy anytime soon, it does a good job of trying to organize the increasingly complex streaming landscape.

Unfortunately, it’s still not cheap to use more than a handful of paid services, but that’s a problem even Reelgood can’t fix. Not even with help from seven former Popcorn Time developers.

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

Disney Ditching Netflix Keeps Piracy Relevant

Post Syndicated from Ernesto original https://torrentfreak.com/disney-ditching-netflix-keeps-piracy-relevant-170809/

There is little doubt that, in the United States, Netflix has become the standard for watching movies on the Internet.

The subscription service is responsible for a third of all Internet traffic during peak hours, dwarfing that of online piracy and other legal video platforms.

It’s safe to assume that Netflix-type streaming services are among the best and most convenient alternative to piracy at this point. There is a problem though. The whole appeal of the streaming model becomes diluted when there are too many ‘Netflixes.’

Yesterday, Disney announced that it will end its partnership with Netflix in 2019. The company is working on its own Disney-branded movie streaming platforms, where titles such as Frozen 2 and Toy Story 4 will end up in the future.

Disney titles are among the most-watched content on Netflix, and the company’s stock took a hit when the news came out. In a statement late yesterday, Disney CEO Bob noted that the company has a good relationship with Netflix but the companies will part ways at the end of next year.

At the moment no decision has been made on what happens to Lucasfilm and Marvel films, but these could find a new home as well. Marvel TV shows such as Jessica Jones and Luke Cage will reportedly stay at Netflix

Although Disney’s decision may be good for Disney, a lot of Netflix users are not going to be happy. It likely means that they need another streaming platform subscription to get what they want, which isn’t a very positive prospect.

In piracy discussions, Hollywood insiders often stress that people have no reason to pirate, as pretty much all titles are available online legally. What they don’t mention, however, is that users need access to a few dozen paid services, to access them all.

In a way, this fragmentation is keeping the pirate ecosystems intact. While legal streaming services work just fine, having dozens of subscriptions is expensive, and not very practical. Especially not compared to pirate streaming sites, where everything can be accessed on the same site.

The music business has a better model, or had initially. Services such as Spotify allowed fans to access most popular music in one place, although that’s starting to crumble as well, due to exclusive deals and more fragmentation.

Admittedly, for a no-name observer, it’s easy to criticize and point fingers. The TV and movie business is built on complicated licensing deals, where a single Netflix may not be able to generate enough revenue for an entire industry.

But there has to be a better way than simply adding more streaming platforms, one would think?

Instead of solely trying to stamp down on pirate sites, it might be a good idea to take a careful look at the supply side as well. At the moment, fragmentation is keeping pirate sites relevant.

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

Movie Studios Wipe Pirate Site Homepages From Google Search

Post Syndicated from Ernesto original https://torrentfreak.com/movie-studios-wipe-pirate-site-homepages-from-google-search-170716/

Over the past two weeks several pirate streaming sites have seen their homepages disappear from Google’s search results.

Earlier this week we reported how GoMovies switched to a new domain name, for this very reason, but on closer inspection it appears that several other sites have suffered the same fate.

While homepages have been removed before, the takedown notices that triggered the recent removals seem to be a systematic effort. They are all sent by the prominent law firm Kilpatrick Townsend, which acts on behalf of a variety of Hollywood movie studios.

The notices, of which the first was sent roughly two weeks ago, all follow a similar pattern. They identify infringing content on pirate streaming sites and list the individual URLs for these movies. In addition, however, many also include the homepage, which often highlights the same movie as a “new” or popular title.

In the case of Gomovies.is, a request was sent on behalf of Warner Bros. to remove Wonder Woman’s streaming page from Google, as well as the homepage where the movie was listed in the popular section.

This worked, not only for the GoMovies domain name but also for dozens of other streaming sites including yesmovies.org, watchfree.ac, xmovies.is, watch29.com, vivo.to, tunemovie.com, putlockervip.com, playmovies.to, moviesub.is and fmovies.ac.

The takedown notice

The example above is just the tip of the iceberg. Over the past two weeks the law firm has targeted many pirate streaming sites, acting on behalf of Warner Bros, Walt Disney Studios, Paramount Pictures, NBC Universal and others. This effectively removed dozens of pirate site homepages from search results.

To outsiders, it may seem like a homepage is just another link but for site owners, it’s a crucial matter. Many of these streaming sites rely on their brand name to remain findable in search engines, and when the homepage is removed, it’s nearly impossible to rise to the top of search results.

Although Google removed many of the early requests, it’s not blindly removing all URLs.

In response to several recent notices the search engine decided to take “no action” for the homepages, which is why gomovies.sc, cmovieshd.com, ap551.com, and others remain indexed. It’s possible that the infringing content was no longer linked on these homepages when Google reviewed the DMCA notices in question.

As for GoMovies, they simply decided to move to a new URL and remove any infringing content from the homepage so they don’t face the same problem in the future.

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

Pirate Site Admin Must Pay 13 Million Euros – If Anyone Can Find Him

Post Syndicated from Andy original https://torrentfreak.com/pirate-site-admin-must-pay-13-million-euros-if-anyone-can-find-him-170708/

Founded in 2006 by Dimitri Mader, Wawa-Mania grew into a million member strong ‘warez’ forum specializing in a broad range of ‘pirate’ content. But just three years later things were already starting to go bad.

In 2009, the Frenchman was detained by the authorities after the Association Against Audiovisual Piracy (ALPA) identified more than 3,600 films being made available via the platform without permission. In the meantime the site continued, generating income from advertising and accepting donations via PayPal.

The case dragged on for years but reached its goal in 2015. Mader was found guilty, sentenced to a year in prison, and hit with a 20,000 euro fine. But by this time the Frenchman was long gone and living with his family in the Philippines. He didn’t even attend the hearing – but things weren’t over yet.

With Mader’s guilt established, the court had to determine the level of damages payable to the plaintiffs, which included Columbia Pictures, Disney, Paramount, Tristar, Universal, Twentieth Century Fox and Warner Bros. The amount eventually arrived at by the court was around $15m.

“I won’t think about the penalty, it is just beyond any common sense,” Mader told TF at the time.

“I will surely not [pay anything] and even if a new court makes the penalty lower, it won’t change anything. Five million, 15 million or 30 million. What’s the difference after all?”

Being outside the country with a jail sentence and huge fines hanging over his head was a big problem for Mader, who told us that returning home after years outside the country would be a complicated affair. But things still weren’t over.

In a ruling handed down last month and just made public, the Paris Court of Appeal upheld the decision of the lower court, affirming that Mader owes the plaintiffs 13 million euros ($14.85m).

According to a report from Numerama, the court said that “the likely harm [to rightsholders] must be assessed in light of the extent of visitors to this site [at the time of the investigation], the number of creative works involved, and the ‘views’ duly established.”

The court determined that every visit to the site wouldn’t necessarily have resulted in an illegal download, but it still placed a value of two euros on every work believed to have been downloaded by users.

Mader did not attend the appeal and was not represented, so things were never likely to go his way. His current whereabouts are not clear, but it seems likely that he remains in the Philippines with his family.

Correspondence sent by TF to his encrypted email account bounced. Only time will tell whether Hollywood will have equal difficulty contacting him.

The full decision can be found here.

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

Disney Asks Google to Remove Its Own (Invisible) Takedown Notices

Post Syndicated from Ernesto original https://torrentfreak.com/disney-asks-google-to-remove-its-own-invisible-takedown-notices-170618/

Pretty much every major copyright holder regularly reports infringing links to Google, hoping to decrease the visibility of pirated files.

Over the past several years, the search engine has had to remove more than two billion links and most of these requests have been neatly archived in the Lumen database.

Walt Disney Company is no stranger to these takedown efforts. The company has sent over 20 million takedown requests to the search engine, covering a wide variety of content. All of these notices are listed in Google’s transparency report, and copies are available at Lumen.

While this is nothing new, we recently noticed that Disney doesn’t stop at reporting direct links to traditional “pirate” sites. In fact, they recently targeted one of their own takedown notices in the Lumen database, which was sent on behalf of its daughter company Lucasfilm.

In the notice below, the media giant wants Google to remove a links to a copy of its own takedown notice, claiming that it infringes the copyright of the blockbuster “Star Wars: The Force Awakens.”

Disney vs. Disney?

This is not the first time that a company has engaged in this type of meta-censorship, it appears.

However, it’s all the more relevant this week after a German court decided that Google can be ordered to stop linking to its own takedown notices. While that suggests that Disney was right to ask for its own link to be removed, the reality is a bit more complex.

When it was still known as ChillingEffects, the Lumen Database instructed Google not to index any takedown notices. And indeed, searching for copies of takedown notices yields no result. This means that Disney asked Google to remove a search result that doesn’t exist.

Perhaps things are different in a galaxy far, far away, but Disney’s takedown notice is not only self-censorship but also entirely pointless.

Disney might be better off focusing on content that Google has actually indexed, instead of going after imaginary threats. Or put in the words of Gold Five: “Stay on Target,” Disney..

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

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.

Even Fake Leaks Can Help in Hollywood’s Anti-Piracy Wars

Post Syndicated from Andy original https://torrentfreak.com/even-fake-leaks-can-help-in-hollywoods-anti-piracy-wars-170527/

On Monday 15 May, during a town hall meeting in New York, Disney CEO Bob Iger informed a group of ABC employees that hackers had stolen one of the company’s movies.

The hackers allegedly informed the company that if a ransom was paid, then the copy would never see the light of day. Predictably, Disney refused to pay, the most sensible decision under the circumstances.

Although Disney didn’t name the ‘hacked’ film, it was named by Deadline as ‘Pirates of the Caribbean: Dead Men Tell No Tales’. A week later, a video was published by the LA Times claiming that the movie was indeed the latest movie in the successful ‘Pirates’ franchise.

From the beginning, however, something seemed off. Having made an announcement about the ‘hack’ to ABC employees, Disney suddenly didn’t want to talk anymore, declining all requests for comment. That didn’t make much sense – why make something this huge public if you don’t want to talk about it?

With this and other anomalies nagging, TF conducted its own investigation and this Wednesday – a week and a half after Disney’s announcement and a full three weeks after the company was contacted with a demand for cash – we published our findings.

Our conclusion was that the ‘hack’ almost certainly never happened and, from the beginning, no one had ever spoken about the new Pirates film being the ‘hostage’. Everything pointed to a ransom being demanded for a non-existent copy of The Last Jedi and that the whole thing was a grand hoax.

Multiple publications tried to get a comment from Disney before Wednesday, yet none managed to do so. Without compromising our sources, TF also sent an outline of our investigation to the company to get to the bottom of this saga. We were ignored.

Then, out of the blue, one day after we published our findings, Disney chief Bob Iger suddenly got all talkative again. Speaking with Yahoo Finance, Iger confirmed what we suspected all along – it was a hoax.

“To our knowledge we were not hacked,” Iger said. “We had a threat of a hack of a movie being stolen. We decided to take it seriously but not react in the manner in which the person who was threatening us had required.”

Let’s be clear here, if there were to be a victim in all of this, that would quite clearly be Disney. The company didn’t ask to be hacked, extorted, or lied to. But why would a company quietly sit on a dubious threat for two weeks, then confidently make it public as fact but refuse to talk, only to later declare it a hoax under pressure?

That may never be known, but Disney and its colleagues sure managed to get some publicity and sympathy in the meantime.

Publications such as the LA Times placed the threat alongside the ‘North Korea’ Sony hack, the more recent Orange is the New Black leak, and the WannaCry ransomware attacks that plagued the web earlier this month.

“Hackers are seizing the content and instead of just uploading it, they’re contacting the studios and asking for a ransom. That is a pretty recent phenomenon,” said MPAA content protection chief Dean Marks in the same piece.

“It’s scary,” an anonymous studio executive added. “It could happen to any one of us.”

While that is indeed the case and there is a definite need to take things seriously, this particular case was never credible. Not a single person interviewed by TF believed that a movie was available. Furthermore, there were many signs that the person claiming to have the movie was definitely not another TheDarkOverlord.

In fact, when TF was investigating the leak we had a young member of a release group more or less laugh at us for wasting our time trying to find out of it was real or not. Considering its massive power (and the claim that the FBI had been involved) it’s difficult to conclude that Disney hadn’t determined the same at a much earlier stage.

All that being said, trying to hoax Disney over a fake leak of The Last Jedi is an extremely dangerous game in its own right. Not only is extortion a serious crime, but dancing around pre-release leaks of Star Wars movies is just about as risky as it gets.

In June 2005, after releasing a workprint copy of Star Wars: Episode 3, the FBI took down private tracker EliteTorrents in a blaze of publicity. People connected to the leak received lengthy jail sentences. The same would happen again today, no doubt.

It might seem like fun and games now, but people screwing with Disney – for real, for money, or both – rarely come out on top. If a workprint of The Last Jedi does eventually become available (and of course that’s always a possibility), potential leakers should consider their options very carefully.

A genuine workprint leak could prompt the company to go to war, but in the meantime, fake-based extortion attempts only add fuel to the anti-piracy fire – in Hollywood’s favor.

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

Was The Disney Movie ‘Hacking Ransom’ a Giant Hoax?

Post Syndicated from Andy original https://torrentfreak.com/was-the-disney-movie-hacking-ransom-a-giant-hoax-170524/

Last Monday, during a town hall meeting in New York, Disney CEO Bob Iger informed a group of ABC employees that hackers had stolen one of the company’s movies.

The hackers allegedly said they’d keep the leak private if Disney paid them a ransom. In response, Disney indicated that it had no intention of paying. Setting dangerous precedents in this area is unwise, the company no doubt figured.

After Hollywood Reporter broke the news, Deadline followed up with a report which further named the movie as ‘Pirates of the Caribbean: Dead Men Tell No Tales’, a fitting movie to parallel an emerging real-life swashbuckling plot, no doubt.

What the Deadline article didn’t do was offer any proof that Pirates 5 was the movie in question. Out of the blue, however, it did mention that a purported earlier leak of The Last Jedi had been revealed by “online chatter” to be a fake. Disney refused to comment.

Armed with this information, TF decided to have a dig around. Was Pirates 5 being discussed within release groups as being available, perhaps? Initially, our inquiries drew a complete blank but then out of the blue we found ourselves in conversation with the person claiming to be the Disney ‘hacker’.

“I can provide the original emails sent to Disney as well as some other unknown details,” he told us via encrypted mail.

We immediately asked several questions. Was the movie ‘Pirates 5’? How did he obtain the movie? How much did he try to extort from Disney? ‘EMH,’ as we’ll call him, quickly replied.

“It’s The Last Jedi. Bob Iger never made public the title of the film, Deadline was just going off and naming the next film on their release slate,” we were told. “We demanded 2BTC per month until September.”

TF was then given copies of correspondence that EMH had been having with numerous parties about the alleged leak. They included discussions with various release groups, a cyber-security expert, and Disney.

As seen in the screenshot, the email was purportedly sent to Disney on May 1. The Hollywood Reporter article, published two weeks later, noted the following;

“The Disney chief said the hackers demanded that a huge sum be paid in Bitcoin. They said they would release five minutes of the film at first, and then in 20-minute chunks until their financial demands are met,” HWR wrote.

While the email to Disney looked real enough, the proof of any leaked pudding is in the eating. We asked EMH how he had demonstrated to Disney that he actually has the movie in his possession. Had screenshots or clips been sent to the company? We were initially told they had not (plot twists were revealed instead) so this immediately raised suspicions.

Nevertheless, EMH then went on to suggest that release groups had shown interest in the copy and he proved that by forwarding his emails with them to TF.

“Make sure they know there is still work to be done on the CGI characters. There are little dots on their faces that are visible. And the colour grading on some scenes looks a little off,” EMH told one group, who said they understood.

“They all understand its not a completed workprint.. that is why they are sought after by buyers.. exclusive stuff nobody else has or can get,” they wrote back.

“That why they pay big $$$ for it.. a completed WP could b worth $25,000,” the group’s unedited response reads.

But despite all the emails and discussion, we were still struggling to see how EMH had shown to anyone that he really had The Last Jedi. We then learned, however, that screenshots had been sent to blogger Sam Braidley, a Cyber Security MSc and Computer Science BSc Graduate.

Since the information sent to us by EMH confirmed discussion had taken place with Braidley concerning the workprint, we contacted him directly to find out what he knew about the supposed Pirates 5 and/or The Last Jedi leak. He was very forthcoming.

“A user going by the username of ‘Darkness’ commented on my blog about having a leaked copy of The Last Jedi from a contact he knew from within Lucas Films. Of course, this garnered a lot of interest, although most were cynical of its authenticity,” Braidley explained.

The claim that ‘Darkness’ had obtained the copy from a contact within Lucas was certainly of interest ,since up to now the press narrative had been that Disney or one of its affiliates had been ‘hacked.’

After confirming that ‘Darkness’ used the same email as our “EMH,” we asked EMH again. Where had the movie been obtained from?

“Wasn’t hacked. Was given to me by a friend who works at a post production company owned by [Lucasfilm],” EMH said. After further prompting he reiterated: “As I told you, we obtained it from an employee.”

If they weren’t ringing loudly enough already, alarm bells were now well and truly clanging. Who would reveal where they’d obtained a super-hot leaked movie from when the ‘friend’ is only one step removed from the person attempting the extortion? Who would take such a massive risk?

Braidley wasn’t buying it either.

“I had my doubts following the recent [Orange is the New Black] leak from ‘The Dark Overlord,’ it seemed like someone trying to live off the back of its press success,” he said.

Braidley told TF that Darkness/EMH seemed keen for him to validate the release, as a member of a well-known release group didn’t believe that it was real, something TF confirmed with the member. A screenshot was duly sent over to Braidley for his seal of approval.

“The quality was very low and the scene couldn’t really show that it was in fact Star Wars, let alone The Last Jedi,” Braidley recalls, noting that other screenshots were considered not to be from the movie in question either.

Nevertheless, Darkness/EMH later told Braidley that another big release group had only declined to release the movie due to the possiblity of security watermarks being present in the workprint.

Since no groups had heard of a credible Pirates 5 leak, the claims that release groups were in discussion over the leaking of The Last Jedi intrigued us. So, through trusted sources and direct discussion with members, we tried to learn more.

While all groups admitted being involved or at least being aware of discussions taking place, none appeared to believe that a movie had been obtained from Disney, was being held for ransom, or would ever be leaked.

“Bullshit!” one told us. “Fake news,” said another.

With not even well-known release groups believing that leaks of The Last Jedi or Pirates 5 are anywhere on the horizon, that brought us full circle to the original statement by Disney chief Bob Iger claiming that a movie had been stolen.

What we do know for sure is that everything reported initially by Hollywood Reporter about a ransom demand matches up with statements made by Darkness/EMH to TorrentFreak, Braidley, and several release groups. We also know from copy emails obtained by TF that the discussions with the release groups took place well before HWR broke the story.

With Disney not commenting on the record to either HWR or Deadline (publications known to be Hollywood-friendly) it seemed unlikely that TF would succeed where they had failed.

So, without comprimising any of our sources, we gave a basic outline of our findings to a previously receptive Disney contact, in an effort to tie Darkness/EMH with the email address that he told us Disney already knew. Predictably, perhaps, we received no response.

At this point one has to wonder. If no credible evidence of a leak has been made available and the threats to leak the movie haven’t been followed through on, what was the point of the whole affair?

Money appears to have been the motive, but it seems likely that none will be changing hands. But would someone really bluff the leaking of a movie to a company like Disney in order to get a ‘ransom’ payment or scam a release group out of a few dollars? Perhaps.

Braidley informs TF that Darkness/EMH recently claimed that he’d had the copy of The Last Jedi since March but never had any intention of leaking it. He did, however, need money for a personal matter involving a family relative.

With this in mind, we asked Darkness/EMH why he’d failed to carry through with his threats to leak the movie, bit by bit, as his email to Disney claimed. He said there was never any intention of leaking the movie “until we are sure it wont be traced back” but “if the right group comes forward and meets our strict standards then the leak could come as soon as 2-3 weeks.”

With that now seeming increasingly unlikely (but hey, you never know), this might be the final chapter in what turns out to be the famous hacking of Disney that never was. Or, just maybe, undisclosed aces remain up sleeves.

“Just got another comment on my blog from [Darkness],” Braidley told TF this week. “He now claims that the Emoji movie has been leaked and is being held to ransom.”

Simultaneously he was telling TF the same thing. ‘Hacking’ announcement from Sony coming soon? Stay tuned…..

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

Fake ‘Pirates Of The Caribbean’ Leaks Troll Pirates and Reporters

Post Syndicated from Ernesto original https://torrentfreak.com/fake-pirates-of-the-caribbean-leaks-troll-pirates-and-reporters-170520/

Earlier this week, news broke that Disney was being extorted by hackers who were threatening to release an upcoming film, reportedly ‘Pirates of the Caribbean: Dead Men Tell No Tales.’

This prompted pirates and reporters to watch torrent sites for copies of the film, and after a few hours the first torrents did indeed appear.

The initial torrent spotted by TF was just over 200MB, which is pretty small. As it turned out, the file was fake and linked to some kind of survey scam.

Fake torrents are quite common and even more so with highly anticipated releases like a “Pirates Of The Caribbean” leak.

Soon after the fist fake, another one followed, this one carrying the name of movie distribution group ETRG. After the first people downloaded a copy, it quickly became clear that this was spam as well, and the torrent was swiftly removed from The Pirate Bay.

Unfortunately, however, some reporters confused the fake releases with the real deal. Without verifying the actual content of the files, news reports claimed that Pirates Of The Caribbean had indeed leaked.

“Hackers Dump Pirates of the Caribbean On Torrent Sites Ahead of Premiere,” Softpedia reported, followed by the award-winning security blog Graham Cluley who wrote that the “New Pirates of the Caribbean movie leaked online.”

Leaks? (via Softpedia)

The latter was also quick to point to a likely source of the leak. Hacker group The Dark Overlord was cited as the prime candidate, even though there were no signs linking it to the leak in question. This is off for a group that regularly takes full public credit for its achievements.

News site Fossbytes also appeared confident that The Dark Overlord was behind the reported (but fake) leaks, pretty much stating it as fact.

“The much-awaited Disney movie Pirates Of The Caribbean 5 Dead Men Tell No Tales was compromised by a hacker group called TheDarkOverlord,” the site reported.

Things got more confusing when the torrent files in question disappeared from The Pirate Bay. In reality, moderators simply removed the spam, as they usually do, but the reporters weren’t convinced and speculated that the ‘hackers’ could have reuploaded the files elsewhere.

A few hours later another ‘leak’ appeared on The Pirate Bay, confirming these alleged suspicions. This time it was a 54GB file which actually had “DARK-OVERL” in the title.

DARK-OVERL!!!

Soon after the torrent appeared online someone added a spam comment suggesting that it had a decent quality. One of the reporters picked this up and wrote that “comments indicate the quality is quite high.”

Again, at this point, none of the reporters had verified that the leaks were real. Still, the news spread further and further.

TorrentFreak also kept an eye on the developments and reached out to a source who said he’d obtained a copy of the 54GB release. This pirate was curious, but didn’t get what he was hoping for.

The file in question did indeed contain video material, he informed us. However, instead of an unreleased copy of the Pirates Of The Caribbean 5, he says he got several copies of an animation movie – Trolls…..

“Turns out, the iso contains a couple of .rar files that house a bunch of Trolls DVDs. I hope everyone learned their lesson, if it’s too good to be true it probably is.”

Indeed it is.

In the spirit of this article we have to stress that we didn’t verify the contents of the (now deleted) “Trolls” torrent ourselves. However, it’s clear that the fake leaks trolled several writers and pirates.

We reached out to Softpedia reporter Gabriela Vatu and Graham Cluley, who were both very receptive to our concerns and updated the initial articles to state that the leaks were not verified.

Let’s hope that this will stop the rumors from spreading any further.

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

Hackers Demand Ransom Over Stolen Copy of ‘Pirates of the Caribbean 5’

Post Syndicated from Ernesto original https://torrentfreak.com/hackers-demand-ransom-over-stolen-copy-of-pirates-of-the-caribbean-5-170516/

During a town hall meeting in New York on Monday, Disney CEO Bob Iger informed a group of ABC employees that hackers have stolen one of the company’s movies.

The hackers offered to keep it away from public eyes in exchange for ransom paid in Bitcoin but Disney says it has no intention to pay.

Although Iger did not mention the movie by name during the meeting, Deadline reports that it’s a copy of ‘Pirates of the Caribbean: Dead Men Tell No Tales.’

The fifth movie in the ‘Pirates‘ franchise starring Johnny Depp, is officially scheduled to appear in theaters next week. Needless to say, a high-quality leak at this point will be seen as a disaster for Disney.

The “ransom” demand from the hacker is reminiscent of another prominent entertainment industry leak, where the requested amount of Bitcoin was not paid.

Just a few weeks ago a group calling itself TheDarkOverlord (TDO) published the premiere episode of the fifth season of Netflix’s Orange is The New Black, followed by nine more episodes a few hours later.

Despite Netflix’s anti-piracy efforts, the ten leaked episodes of Orange is The New Black remain popular on many torrent indexes and pirate streaming sites.

There is no indication that the previous and threatened leaks are related in any way. TorrentFreak has seen a list of movies and TV-shows TDO said they have in their possession, but the upcoming ‘Pirates’ movie isn’t among them.

The Disney hackers have threatened to release the movie in increments, but the movie studio is hoping that they won’t go ahead with their claims.

Thus far there haven’t been any reports of leaked parts of the fifth Pirates of the Caribbean film. Disney, meanwhile, is working with the FBI to track down the people responsible for the hack.

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

Foxtel Targets Pirate Streaming Sites in New ISP Blocking Case

Post Syndicated from Andy original https://torrentfreak.com/foxtel-targets-pirate-streaming-sites-in-new-isp-blocking-case-170508/

When the Australian government introduced new legislation to allow ‘pirate’ sites to be blocked Down Under, there was never any question that the law would go underused.

December last year following a lawsuit brought by Roadshow Films, Foxtel, Disney, Paramount, Columbia, and 20th Century Fox, the Federal Court ordered ISPs to block The Pirate Bay, Torrentz, TorrentHound, IsoHunt and streaming service SolarMovie.

This February the same rightsholders were back again, this time with even more targets in mind including ExtraTorrent, RarBG, Demonoid, LimeTorrents, YTS and EZTV, plus streaming portals 123Movies, CouchTuner, Icefilms, Movie4K, PrimeWire, Viooz, Putlocker and many more.

With blocking efforts gathering momentum, the fifth case seeking injunctions against pirate sites has just hit Australia’s Federal Court. It’s the second to be filed by Foxtel and again targets streaming sites including Yes Movies, Los Movies, Watch Series and Project Free TV.

In common with earlier cases, ISPs named in the latest application include TPG, Telstra, Optus and Vocus/M2. Once various subsidiaries are included, blocking becomes widespread across Australia, often encompassing dozens of smaller providers.

Speaking with ABC, a Foxtel spokesperson said the company has confidence that the Federal Court will ultimately order the sites to be blocked.

“Foxtel believes that the new site blocking regime is an effective measure in the fight to prevent international operators illegitimately profiting from the creative endeavours of others,” he said.

Indeed, the earlier cases brought by both the studios and record companies have pioneered a streamlined process that can be tackled relatively easily by rightsholders and presented to the court in a non-confrontational and easily understood format.

ISPs are not proving too much of a hindrance either, now that the issue of costs appears to be behind them. In Foxtel’s earlier case involving The Pirate Bay, the judge said that ISPs must be paid AUS$50 per domain blocked. That now appears to be the standard.

So what we have here is a quickly maturing process that has already developed into somewhat of a cookie-cutter site-blocking mechanism.

Applications are made against a particular batch of sites and after the court assesses the evidence, an injunction is handed down. If further similar and related sites (such as proxies and mirrors) need to be blocked, those are dealt with in a separate and simplified process.

That was highlighted last week when an application by Universal Music, Warner Music, Sony Music and J Albert & Son, resulted in a range of KickassTorrents spin-off sites being approved for blocking by the Federal Court. The ISPs in question, 20 in total, have been given two weeks to block the sites.

Whether this will have the desired effect will remain to be seen. Australians are well-versed in unblocking solutions such as VPNs. Ironically, most learned of their existence when trying to gain access to legal services such as Netflix, that were available overseas for years before hitting Aussie shores.

Since that has now been remedied with a local launch, rightsholders and companies such as Foxtel are hoping that pirate services will be less attractive options.

“We trust that Australians recognize that there are increasing numbers of ways to access content in a timely manner and at reasonable prices. [This] ensures that revenue goes back to the people who create and invest in original ideas,” a Foxtel spokesperson said.

If the United Kingdom is any template (and all signs suggest that it is), expect hundreds of similar ‘pirate’ sites to be blocked in Australia in the coming months.

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

‘First Pirated Ultra HD Blu-Ray Disk’ Appears Online. AACS 2.0 Cracked?

Post Syndicated from Ernesto original https://torrentfreak.com/first-pirated-ultra-hd-blu-ray-disk-appears-online-aacs-2-0-cracked-170503/

While there is no shortage of pirated films on the Internet, Ultra-high-definition content is often hard to find.

Not only are the file sizes enormous, but the protection is better than that deployed to regular content. UHD Blu-Ray Discs, for example, are protected with AACS 2.0 encryption which was long believed to unbreakable.

A few hours ago, however, this claim was put in doubt. Out of nowhere, a cracked copy of a UHD Blu-Ray Disc surfaced on the HD-focused BitTorrent tracker UltraHDclub.

The torrent in question is a copy of the Smurfs 2 film and is tagged “The Smurfs 2 (2013) 2160p UHD Blu-ray HEVC Atmos 7.1-THRONE.” This suggests that AACS 2.0 may have been “cracked” although there are no further technical details provided at this point.

UltraHDclub is proud of the release, though, and boasts of having the “First Ultra HD Blu-ray Disc in the NET!”

Those who want to get their hands on a copy of the file have to be patient though. Provided that they have access to the private tracker, it will take a while to download the entire 53.30 GB disk.

At the time of writing, there are still very few seeders available, which means that progress is slow.

TorrentFreak reached out to both the uploader of the torrent and an admin at the site hoping to find out more, but thus far we have yet to hear back. From the details provided, the copy appears to be the real deal although not everyone agrees.

TorrentFreak spoke to an expert at a well-known torrent distribution group who reviewed the media information and compared it to the retail UHD Blu-Ray Disc.

While the audio seems to match, the Maximum Content Light Level and Maximum Frame-Average Light Level listed in the media info appear to be different, and the colors in the screenshots are off too. This means that it’s warranted to remain reserved when it comes to definitive “cracked” claims at this time.

The potential ‘breakthrough’ release hasn’t gone unnoticed though, and in various discussion forums people are suggesting that AACS 2.0 must have been broken. Hundreds of downloaders have jumped on the release too, congratulating the uploader.

“Great job! Congratulations to the person/team who achieved this awesome milestone. I’ve got nothing but love for you!” one downloader writes.

“This is history in the making and I`m proud and glad to be able to participate and experience it first hand. This is so freakin amazing and it feels sort of unreal but yet it isn`t which is the best part,” another one notes.

If the encryption has indeed been broken it will be bad news for AACS, the decryption licensing outfit that controls it. The company, founded by a group of movie studios and technology partners including Warner Bros, Disney, Microsoft and Intel, has put a lot of effort into making the technology secure.

If more information becomes available, we will update the article accordingly.

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

Hollywood Demands Net Neutrality Exceptions to Tackle Piracy

Post Syndicated from Andy original https://torrentfreak.com/hollywood-demands-net-neutrality-exceptions-to-tackle-piracy-170502/

Net neutrality is the notion that ISPs should treat all data traveling via the Internet in the same manner. Providers shouldn’t discriminate based on user, content or platform type, nor devices attached to the network.

While there are plenty of entities who support these principles, the free-flow of information is sometimes perceived as a threat. The concept of so-called fast and slow lanes with variable pricing, for example, has the potential to cause many anti-competitive headaches.

But for the content industries, particularly those involved in movies, TV shows, and other video entertainment, the concept of net neutrality has the potential to complicate plans to block and otherwise restrict access to copyright-infringing material.

As a result, Hollywood is making its feelings known both locally and overseas, including in India where it’s just contributed to the country’s net neutrality debate.

Early 2017, the Telecom Regulatory Authority of India (TRAI) asked for input on its “Consultation Paper on Net Neutrality”, the fifth in the past two years aimed at introducing a legal framework for net neutrality.

Published by MediaNama in January, the 14-point questionnaire received responses from many stakeholders, including the Motion Picture Distribution Association, the local division of the MPA/MPAA representing Paramount, Sony, Twentieth Century Fox, Universal, Disney and Warner.

Exceptions to net neutrality principles for pirate content

In response to a question which asked whether there should be exceptions to net neutrality in order for ISPs to implement traffic management practices (TMP), Hollywood is clear. Net neutrality should only ever apply when Internet traffic is lawful, and ISPs should be able to take measures to deal with infringing content.

“For the Motion Picture Association’s members, as representatives of an industry that creates and distributes copyrighted content, it is critical that the Internet does not serve as a haven for illegal activity and that [service providers] should be permitted to take reasonable action to prevent the transfer of stolen copyrighted content,” the Hollywood group writes.

“It is commonly accepted that the requirements of [net neutrality] apply only in respect of access to lawful content. This implies that a [service provider] to, say, block content pursuant to a direction from authorities authorised by law to do so, and after following due process – will not be considered unreasonable.”

The studios say they’re in agreement that the Indian government should have the right to regulate content in “emergency situations” and also whenever content is deemed illegal, so in these instances, net neutrality rules would not apply.

Copyright-infringing content fits the latter category, but the MPA wants the government to include specific wording in any regulation that expressly denotes pirate material as exempt from the freedoms of net neutrality.

“We urge that a clear statement be included in any eventual net neutrality regulation that specifies that pirated and infringing content is unlawful and therefore not subject to the normal net neutrality policy of prohibiting content-based regulations,” the studios say.

Exemptions for blocking and throttling to counter piracy

The idea that infringing content should be blocked, throttled, or otherwise hindered is a cornerstone of Hollywood’s fight against infringing content worldwide, despite it being unable to achieve those things in its own backyard. In India, however, the studios see blocking as a fair response to the spread of infringing content and something that should be allowed under net neutrality rules.

“As a remedy to address the dissemination of, or unauthorized access to, unlawful content, blocking and throttling are necessary and appropriate measures,” the studios note.

“Blocking access to infringing sites is not inconsistent with net neutrality. In fact, blocking illegal sites, especially when they originate from outside the country, is often the only effective remedy to prevent access to illegal content in India.

“[Service providers] must be able to block sites that link, stream, make available, or otherwise communicate to the public unauthorized or illegal content.”

Rightsholders and ISPs should work together

In both the United States and Europe, Hollywood is an advocate of voluntary anti-piracy measures, with content owners and ISPs collaborating to hinder the spread of infringing content. According to its submission to the telecoms regulator, Hollywood would like to see something similar in India.

When forming its regulations, the studios would like to see service providers “encouraged” to work with rightsholders to “employ the best available tools and technologies” to fight piracy while affirming ISPs’ right to use traffic management practices (TMP) to deal with the spread of infringing content.

Furthermore, Hollywood would like a clear statement that the use of TMPs against infringing content “should not depend on an advance judicial or regulatory determination of ‘lawfulness’ prior to every use.” In other words, court oversight should not generally be required.

In conclusion, the MPA underlines that rightsholders and rightsholders alone should have the final say in respect of when, to whom, and under what circumstances they make content available. Should the Telecom Regulatory Authority of India interfere with that right, both domestic and international breaches of law could result.

The full submission can be found here (pdf)

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

Community Profile: Jillian Ogle

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/community-profile-jillian-ogle/

This column is from The MagPi issue 53. You can download a PDF of the full issue for free, or subscribe to receive the print edition in your mailbox or the digital edition on your tablet. All proceeds from the print and digital editions help the Raspberry Pi Foundation achieve its charitable goals.

Let’s Robot streams twice a week, Tuesdays and Thursdays, and allows the general public to control a team of robots within an interactive set, often consisting of mazes, clues, challenges, and even the occasional foe. Users work together via the Twitch.tv platform, sending instructions to the robots in order to navigate their terrain and complete the set objectives.

Let's Robot Raspberry Pi Jillian Ogle

Let’s Robot aims to change the way we interact with television, putting the viewer in the driving seat.

Aylobot, the first robot of the project, boasts a LEGO body, while Ninabot, the somewhat 2.0 upgrade of the two, has a gripper, allowing more interaction from users. Both robots have their own cameras that stream to Twitch, so that those in control can see what they’re up to on a more personal level; several new additions have joined the robot team since then, each with their own unique skill.

Let's Robot Raspberry Pi Jillian Ogle

Twice a week, the robots are controlled by the viewers, allowing them the chance to complete tasks such as force-feeding the intern, attempting to write party invitations, and battling in boss fights.

Jillian Ogle

Let’s Robot is the brainchild of Jillian Ogle, who originally set out to make “the world’s first interactive live show using telepresence robots collaboratively controlled by the audience”. However, Jill discovered quite quickly that the robots needed to complete the project simply didn’t exist to the standard required… and so Let’s Robot was born.

After researching various components for the task, Jill decided upon the Raspberry Pi, and it’s this small SBC that now exists within the bodies of Aylobot, Ninabot, and the rest of the Let’s Robot family.

Let's Robot Jillian Ogle Raspberry Pi

“Post-Its I drew for our #LetsRobot subscribers. We put these in the physical sets made for the robots. I still have a lot more to draw…”

In her previous life, Jill worked in art and game design, including a role as art director for Playdom, a subsidiary of Disney Interactive; she moved on to found Aylo Games in 2013 and Let’s Robot in 2015. The hardware side of the builds has been something of a recently discovered skill, with Jill admitting, “Anything I know about hardware I’ve picked up in the last two years while developing this project.”

This was my first ever drone flight, live on #twitch. I think it went well. #letsrobot #robot #robotics #robots #drone #drones #twitchtv #twitchcreative #twitchplays #fail #livestream #raspberrypi #arduino #hardware #mechatronics #mechanicalengineering #makersgonnamake #nailedit #make #electronics

73 Likes, 3 Comments – Jillian Ogle (@letsjill) on Instagram: “This was my first ever drone flight, live on #twitch. I think it went well. #letsrobot #robot…”

Social media funtimes

More recently, as Let’s Robot continues to grow, Jill can be found sharing the antics of the robots across social media, documenting their quests – such as the hilarious attempt to create party invites and the more recent Hillarybot vs Trumpbot balloon head battle, where robots with extendable pin-mounted arms fight to pop each other’s head.

Last night was the robot presidential debate, and here is an early version of candidate #Trump bot. #letsrobot #robotics #robot #raspberrypi #twitch #twitchtv #twitchplays #3dprinting #mechatronics #arduino #iot #robots #crafting #make #battlebots #hardware #twitchcreative #presidentialdebate2016 #donaldtrump #electronics #omgrobots #adafruit #silly

400 Likes, 2 Comments – Jillian Ogle (@letsjill) on Instagram: “Last night was the robot presidential debate, and here is an early version of candidate #Trump bot….”

Gotta catch ’em all

Alongside the robots, Jill has created several other projects that both add to the interactive experience of Let’s Robot and comment on other elements of social trends out in the world. Most notably, there is the Pokémon Go Robot, originally a robot arm that would simulate the throw of an on-screen Poké Ball. It later grew wheels and took to the outside world, hunting down its pocket monster prey.

Let's Robot Pokemon Go Raspberry Pi

Originally sitting on a desk, the Pokémon Go Robot earned itself a new upgrade, gaining the body of a rover to allow it to handle the terrain of the outside world. Paired with the Livestream Goggles, viewers can join in the fun.

It’s also worth noting other builds, such as the WiFi Livestream Goggles that Jill can be seen sporting across several social media posts. The goggles, with a Pi camera fitted between the wearer’s eyes, allow viewers to witness Jill’s work from her perspective. It’s a great build, especially given how open the Let’s Robot team are about their continued work and progression.

Let's Robot Pokemon Go Raspberry Pi

The WiFi-enabled helmet allows viewers the ability to see what Jill sees, offering a new perspective alongside the Let’s Robot bots. The Raspberry Pi camera fits perfectly between the eyes, bringing a true eye level to the viewer. She also created internet-controlled LED eyebrows… see the video!

And finally, one project we are eager to see completed is the ‘in production’ Pi-powered transparent HUD. By incorporating refractive acrylic, Jill aims to create a see-through display that allows her to read user comments via the Twitch live-stream chat, without having to turn her eyes to a separate monitor

Since the publication of this article in The MagPi magazine, Jill and the Let’s Robot team have continued to grow their project. There are some interesting and exciting developments ahead – we’ll cover their progress in a future blog.

The post Community Profile: Jillian Ogle appeared first on Raspberry Pi.

Pirate Site Operators Caught By Money Trail, Landmark Trial Hears

Post Syndicated from Andy original https://torrentfreak.com/pirate-site-operators-caught-by-money-trail-landmark-trial-hears-170411/

Founded half a decade ago, Swefilmer grew to become Sweden’s most popular movie and TV show streaming site. At one stage, Swefilmer and fellow streaming site Dreamfilm were said to account for 25% of all web TV viewing in Sweden.

In 2015, local man Ola Johansson took to the Internet to reveal that he’d been raided by the police under suspicion of being involved in running the site. In March 2016, a Turkish national was arrested in Germany on a secret European arrest warrant.

After a couple of false starts, one last June and another this January, the case finally got underway yesterday in Sweden.

The pair stand accused of the unlawful distribution of around 1,400 movies, owned by a dozen studios including Warner, Disney and Fox. Investigators tested 67 of the titles and ten had been made available online before their DVD release.

Anti-piracy group Rights Alliance claims that the site generated a lot of money from advertising without paying for the appropriate licenses. On the table are potential convictions for copyright infringement and money laundering.

Follow the money

In common with so many file-sharing related cases, it’s clear that the men in this case were tracked down from traces left online. Those included IP address evidence and money trails from both advertising revenues and site donations.

According to Sveriges Radio who were in court yesterday, police were able to trace two IP addresses used to operate Swefilmer back to Turkey.

In an effort to trace the bank account used by the site to hold funds, the prosecutor then sought assistance from Turkish authorities. After obtaining the name of the 26-year-old, the prosecutor was then able to link that with advertising revenue generated by the site.

Swefilmer also had a PayPal account used to receive donations and payments for VIP memberships. That account was targeted by an investigator from Rights Alliance who donated money via the same method. That allowed the group to launch an investigation with the payment processor.

The PayPal inquiry appears to have been quite fruitful. The receipt from the donation revealed the account name and from there PayPal apparently gave up the email and bank account details connected to the account. These were linked to the 26-year-old by the prosecutor.

Advertising

The site’s connections with its advertisers also proved useful to investigators. The prosecution claimed that Swefilmer received its first payment in 2013 and its last in 2015. The money generated, some $1.5m (14m kronor), was deposited in a bank account operated by the 26-year-old by a Stockholm-based ad company.

The court heard that while the CEO of the advertising company had been questioned in connection with the case, he is not suspected of crimes.

Connecting the site’s operators

While the exact mechanism is unclear, investigators from Rights Alliance managed to find an IP address used by the 22-year-old. This IP was then traced back to his parents’ home in Kungsbacka, Sweden. The same IP address was used to access the man’s Facebook page.

In court, the prosecution read out chat conversations between both men. They revealed that the men knew each other only through chat and that the younger man believed the older was from Russia.

The prosecution’s case is that the 26-year-old was the ring-leader and that his colleague was a minor player. With that in mind, the latter is required to pay back around $4,000, which is the money he earned from the site.

For the older man, the situation is much more serious. The prosecution is seeking all of the money the site made from advertising, a cool $1.5m.

The case was initially set to go ahead last year but was postponed pending a ruling from the European Court of Justice. Last September, the Court determined that it was illegal to link to copyrighted material if profit was being made.

Claes Kennedy, the lawyer for the 22-year-old, insists that his client did nothing wrong. His actions took place before the ECJ’s ruling so should be determined legal, he says.

The case continues.

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

Hollywood Obtains Order to Block Pirate Streaming Sites in Ireland

Post Syndicated from Ernesto original https://torrentfreak.com/hollywood-obtains-order-block-pirate-streaming-sites-ireland-170404/

Like many other countries throughout Europe, Ireland is no stranger to pirate site blocking.

The Pirate Bay was blocked back in 2009, as part of a voluntary agreement between copyright holders and local ISP Eircom. A few years later the High Court ordered other major Internet providers to follow suit.

However, The Pirate Bay is not the only ‘infringing’ site out there, and this year the Motion Picture Association (MPA) went to the Commercial Court, hoping to expand the blockades.

On behalf of several major Hollywood studios, the group requested Irish Internet providers to block access to three popular streaming sites; movie4k.to, primewire.ag, and onwatchseries.to.

In their complaint, the movie studios, including Disney, Twentieth Century Fox, and Warner Bros, described the sites as massive copyright infringement hubs, with each offering thousands of infringing movies.

Monday evening the court approved the request. This means that the three websites will soon be rendered unavailable by Eircom, Sky Ireland, Vodafone Ireland, Virgin Media Ireland, Three Ireland, Digiweb, Imagine Telecommunications, and Magnet Networks.

According to Justice Brian Cregan it was “clear” that copyright infringement “manifestly occurred” on the three streaming portals. In addition, he ruled that the ISP blockades will not interfere with lawful Internet use, nor can they be characterized as disproportionate.

Watchseries

Irish Times reports that none of the ISPs opposed the blocking request. However, Eir said that the costs involved could become an issue if the number of blocked websites increases drastically in the future.

The ISP asked the court to put a cap on the number of notifications, limiting it to 50 per month. However, the movie studios objected to a blocking cap, and the judge decided not to add any limitations for now.

How the Internet providers will restrict access to the sites in question is unclear for now, but it’s likely to be through DNS, IP-addresses, or a combination of both. If Ireland follows the UK, the number of blocked domains may soon rise to several thousand.

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

Studios Mull New Movies at Home, 30 Days After Release For $30

Post Syndicated from Andy original https://torrentfreak.com/studios-mull-new-movies-at-home-30-days-after-release-for-30-170322/

Aside from the thorny issue of price, content availability is often cited as one of the major drivers of Internet piracy. If consumers can access content easily without being made to wait, it’s believed that significant numbers will choose legal options.

With its global Friday release strategy and largely instantaneous availability on streaming platforms, the music industry has taken massive strides in dealing with this gaping hole in supply and demand. But for the movie industry, with its complex structure and multi-platform delivery system, things are not so straightforward.

Giving customers access to new movies on multiple formats on the day they’re released might seem to be the logical move to combat piracy, but Hollywood is fiercely protective of its windowing system since it offers multiple opportunities to sell and re-sell the same content to the same people.

Now, however, there are signs that the studios could be softening their stance towards consumers being able to rent new movies in the home shortly after their theatrical release.

According to a Variety report, six of the seven biggest Hollywood studios are considering plans to allow new movies to be delivered via VOD into the living room between 30 and 45 days after launch for around $30.

Fox and Warner are said to favor this structure but other plans are also floating around. Universal are reported to be pushing for a VOD release less than three weeks after launch, with Warner Bros. suggesting a shorter 17-day delay but with a larger $50 rental price.

Of course, any move to bring content to the home more quickly could have a profound effect on the many theater chains around the United States and present a serious stumbling block in negotiations. However, a proposal from Warner would see exhibitors receiving a cut of VOD revenues, if they agree to a narrowing of the theatrical release window.

While the rest of the major studios are keen to move forward, Disney is reported to be against the proposal. For a company that came up with the artificial restrictions embodied in the Disney Vault, for example, that probably won’t come as too much of a surprise.

But for those hoping for a smooth transition to quick releases in the home, breath holding is not advised, at least for now. Variety reports that negotiations have been underway for more than a year already and due to a number of considerations, they are pretty complex.

While Universal wants to go early across the board, others are considering longer or shorter release windows depending on the number of screens a movie is still showing on. In other words, the sooner people get bored of the theatrical release, the quicker it might appear in homes. That probably doesn’t bode well for fans of the more successful movies that enjoy longer theatrical runs and are more prone to piracy.

But while innovation is being sought, it’s also worth noting that exhibitors are seeking to reel it back in other areas. Lower priced movie rentals can currently appear 90 days after release and exhibitors are reported as seeking assurances that this will remain the case for up to 10 more years.

The news that the studios are considering their own model for early distribution will come as a blow to Napster founder Sean Parker. A year ago this month, news broke that the disrupter had a plan to bring first-run movies to the home on the same day they’re released in theaters.

While that may have been a little optimistic, Parker’s overall framework sounds very much like the plan Warner is now in favor of – a $50 rental price tag with a $20 cut going to exhibitors. Also included in Parker’s price would have been two free movie tickets, something that doesn’t appear to be on the table now.

Also in doubt is whether the currently proposed two to four-week window will be long enough to quash fears that early VOD delivery would contribute heavily to online piracy.

Last year, Art House Convergence, a cinema organization representing 600 theaters and allied cinema exhibition businesses, said that Parker’s day-and-date model would encourage the “wildfire spread of pirated content” and herald a “decline in overall film profitability through the cannibalization of theatrical revenue.”

It’s safe to say that nobody in the movie business wants that. Stay tuned.

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

‘Secret’ MPAA Lawsuit Targeted Domains of Pubfilm’s “Piracy Ring”

Post Syndicated from Ernesto original https://torrentfreak.com/secret-mpaa-lawsuit-targeted-domains-of-pubfilms-piracy-ring-170313/

A week ago we reported about the mysterious domain name issues pirate streaming site Pubfilm was facing.

The popular site lost control over several of its domains, including pubfilm.com, pubfilm.net, pubfilmhd.com, top100film.com, pidtv.com and pubfilm.cc.

Similar to other sites in this position, Pubfilm swiftly moved its operation to a new home; pubfilm.ac. Hoping to keep their visitors on board, the operators also took the unusual step of advertising this change through Google Adsense.

Now that a week has passed, more info has become available on Pubfilm’s domain troubles. As it turns out, the site is subject to a lawsuit filed by the MPAA, on behalf of several major Hollywood studios including Warner Bros., Paramount Pictures, and Disney.

The lawsuit was filed in a New York federal court early last month and accuses Pubfilm and several associated sites of operating a large-scale piracy operation causing significant harm to the movie industry.

The sites allegedly have eight million monthly visitors, of which roughly 40 percent are linked to US IP-addresses, THR reports. The operators are believed to be from Vietnam, and one of the defendants is named as Phat Bui.

“Defendants’ entire business amounts to nothing more than a blatant, large-scale copyright infringement operation, undertaken to maximize ill-gotten profits while evading the enforcement efforts of copyright owners,” the complaint reads.

“Plaintiffs bring this action to put an end to Defendants’ ongoing, massive violation of Plaintiffs’ rights and to recover damages therefrom.” the movie studios add.

The lawsuit was initially kept out of public view. However, after our report last week, the MPAA agreed that it could be unsealed. The court signed the unseal order last Friday, but at the time of writing the original complaint is still unavailable in the court docket.

MPAA agrees to unseal

What’s most significant about the lawsuit, aside from the initial secrecy, is the fact that the court swiftly granted a temporary restraining order and preliminary injunction against several domain registrars and registries.

The restraining order from early February required GoDaddy, VeriSign, and Enom to make six domain names unavailable without warning or informing their customers in advance.

While this is an isolated case for now, the MPAA could use this tactic to target other alleged pirate sites in future.

It is no secret that domain names are prime target for the Hollywood studios. Last month they targeted several domains in Europe through the domain name registrar EuroDNS, and it wouldn’t be a surprise if similar actions follow in the near future.

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

TV Time Machine

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/tv-time-machine/

Back when home television sets were thin on the ground and programmes were monochrome, TV maintained a magical aura, a ‘how do they fit the people in that little box’ wonder which has been lost now that sets are common and almost everyone has their own video camera or recording device. Many older shows were filmed specifically to be watched in black and white, and, in much the same way that plugging your SNES into an HD monitor doesn’t quite look right, old classics just don’t look the same when viewed on the modern screen.

1954 brochure advert for Admiral TV sets

50’s televisions were so pretty. So, so pretty.

Wellington Duraes, Senior Program Manager for Microsoft and proud owner of one of the best names I’ve ever seen, has used a Raspberry Pi and some readily available television content to build a TV Time Machine that draws us back to the days of classic, monochrome viewing the best way he can.

He may not be able to utilise the exact technology of the old screen, but he can trick our mind with the set’s retro aesthetics.

TV Time Machine

You can see more information about this project here: https://www.hackster.io/wellington-duraes/tv-time-machine-d11b5f

As explained in his hackster.io project page, Wellington joined his local Maker community, the Snohomish County Makers in Everett, WA, who helped him to build the wooden enclosure for the television. By purchasing turquoise speaker grille fabric online, he was able to give a gorgeous retro feeling to the outer shell.

Wellington TV Time Machine

Wellington: “I can’t really keep it on close to me because I’ll stop working to watch…”

For the innards, Wellington used a cannibalised thrift store Dell monitor, hooking it up to a Raspberry Pi 2 and some second-hand speakers. After the addition of Adafruit’s video looper code to loop free content downloaded from the Internet Archive, plus some 3D-printed channel and volume knobs, the TV Time Machine was complete.

Wellington TV Time Machine Raspberry Pi inside view

The innards of the TV Time Machine

“Electronics are the easiest part,” explains Wellington. “This is basically a Raspberry Pi 2 playing videos in an infinite loop from a flash drive, a monitor, and a PC speaker.”

On a personal note, my first – and favourite – television was a black-and-white set, the remote long since lost. A hand-me-down from my parents’ bedroom, I remember watching the launch of Euro Disney on its tiny screen, imagining what the fireworks and parade would look like in colour. Of course, I could have just gone downstairs and watched it on the colour television in the living room, but there was something special about having my own screen whose content I could dictate.

euro disney opening logo

For anyone too young to remember the resort’s original name.

On weekend mornings, I would wake and give up my rights to colour content in order to watch Teenage Mutant Ninja Turtles, Defenders of the Earth, and The Wuzzles (my favourite) on that black-and-white screen, knowing that no one would ask for the channel to be changed – what eight-year-old child wanted to watch boring things like the news and weather?

The Wuzzles theme

intro

I think that’s why I love this project so much, and why, despite now owning a ridiculously large smart TV with all the bells and whistles of modern technology, I want to build this for the nostalgia kick.

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