Tag Archives: mov

Kim Dotcom Loses Megaupload Domain Names, Gets “Destroyed” Gaming Chair Back

Post Syndicated from Ernesto original https://torrentfreak.com/kim-dotcom-loses-megaupload-domain-names-gets-destroyed-gaming-chair-back-180117/

Following the 2012 raid on Megaupload and Kim Dotcom, U.S. and New Zealand authorities seized millions of dollars in cash and other property, located around the world.

Claiming the assets were obtained through copyright and money laundering crimes, the U.S. government launched separate civil cases in which it asked the court to forfeit bank accounts, servers, domain names, and other seized possessions of the Megaupload defendants.

One of these cases was lost after the U.S. branded Dotcom and his colleagues as “fugitives”.The defense team appealed the ruling, but lost again, and a subsequent petition at the Supreme Court was denied.

Following this lost battle, the U.S. also moved to conclude a separate civil forfeiture case, which was still pending at a federal court in Virginia.

The assets listed in this case are several bank accounts, including several at PayPal, as well as 60 servers Megaupload bought at Leaseweb. What has the most symbolic value, however, are the domain names that were seized, including Megaupload.com, Megaporn.com and Megavideo.com.

Mega’s domains

This week a U.S. federal court decided that all claims of Kim Dotcom, his former colleague Mathias Ortman, and several Megaupload-related companies should be stricken. A default was entered against them on Tuesday.

The same fugitive disentitlement argument was used in this case. This essentially means that someone who’s considered to be a fugitive from justice is not allowed to get relief from the judicial system he or she evades.

“Claimants Kim Dotcom and Mathias Ortmann have deliberately avoided prosecution by declining to enter or reenter the United States,” Judge Liam O’Grady writes in his order to strike the claims.

“Because Claimant Kim Dotcom, who is himself a fugitive under Section 2466, is the Corporate Claimants’ controlling shareholder and, in particular, because he signed the claims on behalf of the corporations, a presumption of disentitlement applies to the corporations as well.”

As a result, the domain names which once served 50 million users per day, are now lost to the US Government. The court records list 18 domains in total, which were registered through Godaddy, DotRegistrar, and Fabulous.

Given the legal history, the domains and other assets are likely lost for good. However, Megaupload defense lawyer Ira Rothken is not giving up yet.

“We are still evaluating the legal options in a climate where Kim Dotcom is being labeled a fugitive in a US criminal copyright case even though he has never been to the US, is merely asserting his US-NZ extradition treaty rights, and the NZ High Court has ruled that he and his co-defendants did not commit criminal copyright infringement under NZ law,” Rothken tells TorrentFreak.

There might be a possibility that assets located outside the US could be saved. Foreign courts are more open to defense arguments, it seems, as a Hong Kong court previously ordered the US to return several assets belonging to Kim Dotcom.

The Hong Kong case also brought some good news this week. At least, something that was supposed to be positive. On Twitter, Dotcom writes that two containers with seized assets were returned, but in a “rotten and destroyed” state.

“A shipment of 2 large containers just arrived in New Zealand. This is how all my stuff looks now. Rotten & destroyed. Photo: My favorite gaming chair,” Dotcom wrote.

According to Dotcom, the US Government asked him to pay for ‘climate controlled’ storage for more than half a decade to protect the seized goods. However, judging from the look of the chair and the state of some other belongings, something clearly went wrong.

Rotten & destroyed

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New AWS Auto Scaling – Unified Scaling For Your Cloud Applications

Post Syndicated from Jeff Barr original https://aws.amazon.com/blogs/aws/aws-auto-scaling-unified-scaling-for-your-cloud-applications/

I’ve been talking about scalability for servers and other cloud resources for a very long time! Back in 2006, I wrote “This is the new world of scalable, on-demand web services. Pay for what you need and use, and not a byte more.” Shortly after we launched Amazon Elastic Compute Cloud (EC2), we made it easy for you to do this with the simultaneous launch of Elastic Load Balancing, EC2 Auto Scaling, and Amazon CloudWatch. Since then we have added Auto Scaling to other AWS services including ECS, Spot Fleets, DynamoDB, Aurora, AppStream 2.0, and EMR. We have also added features such as target tracking to make it easier for you to scale based on the metric that is most appropriate for your application.

Introducing AWS Auto Scaling
Today we are making it easier for you to use the Auto Scaling features of multiple AWS services from a single user interface with the introduction of AWS Auto Scaling. This new service unifies and builds on our existing, service-specific, scaling features. It operates on any desired EC2 Auto Scaling groups, EC2 Spot Fleets, ECS tasks, DynamoDB tables, DynamoDB Global Secondary Indexes, and Aurora Replicas that are part of your application, as described by an AWS CloudFormation stack or in AWS Elastic Beanstalk (we’re also exploring some other ways to flag a set of resources as an application for use with AWS Auto Scaling).

You no longer need to set up alarms and scaling actions for each resource and each service. Instead, you simply point AWS Auto Scaling at your application and select the services and resources of interest. Then you select the desired scaling option for each one, and AWS Auto Scaling will do the rest, helping you to discover the scalable resources and then creating a scaling plan that addresses the resources of interest.

If you have tried to use any of our Auto Scaling options in the past, you undoubtedly understand the trade-offs involved in choosing scaling thresholds. AWS Auto Scaling gives you a variety of scaling options: You can optimize for availability, keeping plenty of resources in reserve in order to meet sudden spikes in demand. You can optimize for costs, running close to the line and accepting the possibility that you will tax your resources if that spike arrives. Alternatively, you can aim for the middle, with a generous but not excessive level of spare capacity. In addition to optimizing for availability, cost, or a blend of both, you can also set a custom scaling threshold. In each case, AWS Auto Scaling will create scaling policies on your behalf, including appropriate upper and lower bounds for each resource.

AWS Auto Scaling in Action
I will use AWS Auto Scaling on a simple CloudFormation stack consisting of an Auto Scaling group of EC2 instances and a pair of DynamoDB tables. I start by removing the existing Scaling Policies from my Auto Scaling group:

Then I open up the new Auto Scaling Console and selecting the stack:

Behind the scenes, Elastic Beanstalk applications are always launched via a CloudFormation stack. In the screen shot above, awseb-e-sdwttqizbp-stack is an Elastic Beanstalk application that I launched.

I can click on any stack to learn more about it before proceeding:

I select the desired stack and click on Next to proceed. Then I enter a name for my scaling plan and choose the resources that I’d like it to include:

I choose the scaling strategy for each type of resource:

After I have selected the desired strategies, I click Next to proceed. Then I review the proposed scaling plan, and click Create scaling plan to move ahead:

The scaling plan is created and in effect within a few minutes:

I can click on the plan to learn more:

I can also inspect each scaling policy:

I tested my new policy by applying a load to the initial EC2 instance, and watched the scale out activity take place:

I also took a look at the CloudWatch metrics for the EC2 Auto Scaling group:

Available Now
We are launching AWS Auto Scaling today in the US East (Northern Virginia), US East (Ohio), US West (Oregon), EU (Ireland), and Asia Pacific (Singapore) Regions today, with more to follow. There’s no charge for AWS Auto Scaling; you pay only for the CloudWatch Alarms that it creates and any AWS resources that you consume.

As is often the case with our new services, this is just the first step on what we hope to be a long and interesting journey! We have a long roadmap, and we’ll be adding new features and options throughout 2018 in response to your feedback.

Jeff;

Scale Your Web Application — One Step at a Time

Post Syndicated from Saurabh Shrivastava original https://aws.amazon.com/blogs/architecture/scale-your-web-application-one-step-at-a-time/

I often encounter people experiencing frustration as they attempt to scale their e-commerce or WordPress site—particularly around the cost and complexity related to scaling. When I talk to customers about their scaling plans, they often mention phrases such as horizontal scaling and microservices, but usually people aren’t sure about how to dive in and effectively scale their sites.

Now let’s talk about different scaling options. For instance if your current workload is in a traditional data center, you can leverage the cloud for your on-premises solution. This way you can scale to achieve greater efficiency with less cost. It’s not necessary to set up a whole powerhouse to light a few bulbs. If your workload is already in the cloud, you can use one of the available out-of-the-box options.

Designing your API in microservices and adding horizontal scaling might seem like the best choice, unless your web application is already running in an on-premises environment and you’ll need to quickly scale it because of unexpected large spikes in web traffic.

So how to handle this situation? Take things one step at a time when scaling and you may find horizontal scaling isn’t the right choice, after all.

For example, assume you have a tech news website where you did an early-look review of an upcoming—and highly-anticipated—smartphone launch, which went viral. The review, a blog post on your website, includes both video and pictures. Comments are enabled for the post and readers can also rate it. For example, if your website is hosted on a traditional Linux with a LAMP stack, you may find yourself with immediate scaling problems.

Let’s get more details on the current scenario and dig out more:

  • Where are images and videos stored?
  • How many read/write requests are received per second? Per minute?
  • What is the level of security required?
  • Are these synchronous or asynchronous requests?

We’ll also want to consider the following if your website has a transactional load like e-commerce or banking:

How is the website handling sessions?

  • Do you have any compliance requests—like the Payment Card Industry Data Security Standard (PCI DSS compliance) —if your website is using its own payment gateway?
  • How are you recording customer behavior data and fulfilling your analytics needs?
  • What are your loading balancing considerations (scaling, caching, session maintenance, etc.)?

So, if we take this one step at a time:

Step 1: Ease server load. We need to quickly handle spikes in traffic, generated by activity on the blog post, so let’s reduce server load by moving image and video to some third -party content delivery network (CDN). AWS provides Amazon CloudFront as a CDN solution, which is highly scalable with built-in security to verify origin access identity and handle any DDoS attacks. CloudFront can direct traffic to your on-premises or cloud-hosted server with its 113 Points of Presence (102 Edge Locations and 11 Regional Edge Caches) in 56 cities across 24 countries, which provides efficient caching.
Step 2: Reduce read load by adding more read replicas. MySQL provides a nice mirror replication for databases. Oracle has its own Oracle plug for replication and AWS RDS provide up to five read replicas, which can span across the region and even the Amazon database Amazon Aurora can have 15 read replicas with Amazon Aurora autoscaling support. If a workload is highly variable, you should consider Amazon Aurora Serverless database  to achieve high efficiency and reduced cost. While most mirror technologies do asynchronous replication, AWS RDS can provide synchronous multi-AZ replication, which is good for disaster recovery but not for scalability. Asynchronous replication to mirror instance means replication data can sometimes be stale if network bandwidth is low, so you need to plan and design your application accordingly.

I recommend that you always use a read replica for any reporting needs and try to move non-critical GET services to read replica and reduce the load on the master database. In this case, loading comments associated with a blog can be fetched from a read replica—as it can handle some delay—in case there is any issue with asynchronous reflection.

Step 3: Reduce write requests. This can be achieved by introducing queue to process the asynchronous message. Amazon Simple Queue Service (Amazon SQS) is a highly-scalable queue, which can handle any kind of work-message load. You can process data, like rating and review; or calculate Deal Quality Score (DQS) using batch processing via an SQS queue. If your workload is in AWS, I recommend using a job-observer pattern by setting up Auto Scaling to automatically increase or decrease the number of batch servers, using the number of SQS messages, with Amazon CloudWatch, as the trigger.  For on-premises workloads, you can use SQS SDK to create an Amazon SQS queue that holds messages until they’re processed by your stack. Or you can use Amazon SNS  to fan out your message processing in parallel for different purposes like adding a watermark in an image, generating a thumbnail, etc.

Step 4: Introduce a more robust caching engine. You can use Amazon Elastic Cache for Memcached or Redis to reduce write requests. Memcached and Redis have different use cases so if you can afford to lose and recover your cache from your database, use Memcached. If you are looking for more robust data persistence and complex data structure, use Redis. In AWS, these are managed services, which means AWS takes care of the workload for you and you can also deploy them in your on-premises instances or use a hybrid approach.

Step 5: Scale your server. If there are still issues, it’s time to scale your server.  For the greatest cost-effectiveness and unlimited scalability, I suggest always using horizontal scaling. However, use cases like database vertical scaling may be a better choice until you are good with sharding; or use Amazon Aurora Serverless for variable workloads. It will be wise to use Auto Scaling to manage your workload effectively for horizontal scaling. Also, to achieve that, you need to persist the session. Amazon DynamoDB can handle session persistence across instances.

If your server is on premises, consider creating a multisite architecture, which will help you achieve quick scalability as required and provide a good disaster recovery solution.  You can pick and choose individual services like Amazon Route 53, AWS CloudFormation, Amazon SQS, Amazon SNS, Amazon RDS, etc. depending on your needs.

Your multisite architecture will look like the following diagram:

In this architecture, you can run your regular workload on premises, and use your AWS workload as required for scalability and disaster recovery. Using Route 53, you can direct a precise percentage of users to an AWS workload.

If you decide to move all of your workloads to AWS, the recommended multi-AZ architecture would look like the following:

In this architecture, you are using a multi-AZ distributed workload for high availability. You can have a multi-region setup and use Route53 to distribute your workload between AWS Regions. CloudFront helps you to scale and distribute static content via an S3 bucket and DynamoDB, maintaining your application state so that Auto Scaling can apply horizontal scaling without loss of session data. At the database layer, RDS with multi-AZ standby provides high availability and read replica helps achieve scalability.

This is a high-level strategy to help you think through the scalability of your workload by using AWS even if your workload in on premises and not in the cloud…yet.

I highly recommend creating a hybrid, multisite model by placing your on-premises environment replica in the public cloud like AWS Cloud, and using Amazon Route53 DNS Service and Elastic Load Balancing to route traffic between on-premises and cloud environments. AWS now supports load balancing between AWS and on-premises environments to help you scale your cloud environment quickly, whenever required, and reduce it further by applying Amazon auto-scaling and placing a threshold on your on-premises traffic using Route 53.

The Man from Earth Sequel ‘Pirated’ on The Pirate Bay – By Its Creators

Post Syndicated from Andy original https://torrentfreak.com/the-man-from-earth-sequel-pirated-on-the-pirate-bay-by-its-creators-180116/

More than a decade ago, Hollywood was struggling to get to grips with the file-sharing phenomenon. Sharing via BitTorrent was painted as a disease that could kill the movie industry, if it was allowed to take hold. Tough action was the only way to defeat it, the suits concluded.

In 2007, however, a most unusual turn of events showed that piracy could have a magical effect on the success of a movie.

After being produced on a tiny budget, a then little-known independent sci-fi film called “The Man from Earth” turned up on pirate sites, to the surprise of its creators.

“Originally, somebody got hold of a promotional screener DVD of ‘Jerome Bixby’s The Man from Earth’, ripped the file and posted the movie online before we knew what was even happening,” Man from Earth director Richard Schenkman informs TorrentFreak.

“A week or two before the DVD’s ‘street date’, we jumped 11,000% on the IMDb ‘Moviemeter’ and we were shocked.”

With pirates fueling interest in the movie, a member of the team took an unusual step. Producer Eric Wilkinson wrote to RLSlog, a popular piracy links site – not to berate pirates – but to thank them for catapulting the movie to fame.

“Our independent movie had next to no advertising budget and very little going for it until somebody ripped one of the DVD screeners and put the movie online for all to download. Most of the feedback from everyone who has downloaded ‘The Man From Earth’ has been overwhelmingly positive. People like our movie and are talking about it, all thanks to piracy on the net!” he wrote.

Richard Schenkman told TF this morning that availability on file-sharing networks was important for the movie, since it wasn’t available through legitimate means in most countries. So, the team called out to fans for help, if they’d pirated the movie and had liked what they’d seen.

“Once we realized what was going on, we asked people to make donations to our PayPal page if they saw the movie for free and liked it, because we had all worked for nothing for two years to bring it to the screen, and the only chance we had of surviving financially was to ask people to support us and the project,” Schenkman explains.

“And, happily, many people around the world did donate, although of course only a tiny fraction of the millions and millions of people who downloaded pirated copies.”

Following this early boost The Man from Earth went on to win multiple awards. And, a decade on, it boasts a hugely commendable 8/10 score on IMDb from more than 147,000 voters, with Netflix users leaving over 650,000 ratings, which reportedly translates to well over a million views.

It’s a performance director Richard Schenkman would like to repeat with his sequel: The Man from Earth: Holocene. This time, however, he won’t be leaving the piracy aspect to chance.

Yesterday the team behind the movie took matters into their own hands, uploading the movie to The Pirate Bay and other sites so that fans can help themselves.

“It was going to get uploaded regardless of what we did or didn’t do, and we figured that as long as this was inevitable, we would do the uploading ourselves and explain why we were doing it,” Schenkman informs TF.

“And, we would once again reach out to the filesharing community and remind them that while movies may be free to watch, they are not free to make, and we need their support.”

The release, listed here on The Pirate Bay, comes with detailed notes and a few friendly pointers on how the release can be further shared. It also informs people how they can show their appreciation if they like it.

The Man from Earth: Holocene on The Pirate Bay

“It’s a revolutionary global experiment in the honor system. We’re asking people: ‘If you watch our movie, and you like it, will you pay something directly to the people who made it?’,” Schenkman says.

“That’s why we’re so grateful to all of you who visit ManFromEarth.com and make a donation – of any size – if you’ve watched the movie without paying for it up front.”

In addition to using The Pirate Bay – which is often and incorrectly berated as a purely ‘pirate’ platform with no legitimate uses – the team has also teamed up with OpenSubtitles, so translations for the movie are available right from the beginning.

Other partners include MovieSaints.com, where fans can pay to see the movie from January 19 but get a full refund if they don’t enjoy it. It’s also available on Vimeo (see below) but the version seen by pirates is slightly different, and for good reason, Schenkman says.

“This version of the movie includes a greeting from me at the beginning, pointing out that we did indeed upload the movie ourselves, and asking people to visit manfromearth.com and make a donation if they can afford to, and if they enjoyed the film.

“The version we posted is very high-resolution, although we are also sharing some smaller files for those folks who have a slow Internet connection where they live,” he explains.

“We’re asking people to share ONLY this version of the movie — NOT to edit off the appeal message. And of course we’re asking people not to post the movie at YouTube or any other platform where someone (other than us) could profit financially from it. That would not be fair, nor in keeping with the spirit of what we’re trying to do.”

It’s not often we’re able to do this so it’s a pleasure to say that The Man from Earth: Holocene can be downloaded from The Pirate Bay, in various qualities and entirely legally, here. For those who want to show their appreciation, the tip jar is here.

"The Man from Earth: Holocene" Teaser Trailer from Richard Schenkman on Vimeo.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Game night 2: Detention, Viatoree, Paletta

Post Syndicated from Eevee original https://eev.ee/blog/2018/01/16/game-night-2-detention-viatoree-paletta/

Game night continues with:

  • Detention
  • Viatoree
  • Paletta

These are impressions, not reviews. I try to avoid major/ending spoilers, but big plot points do tend to leave impressions.

Detention

longish · inventory horror · jan 2017 · lin/mac/win · $12 on steam · website

Inventory horror” is a hell of a genre.

I think this one came from a Twitter thread where glip asked for indie horror recommendations. It’s apparently well-known enough to have a Wikipedia article, but I hadn’t heard of it before.

I love love love the aesthetic here. It’s obviously 2Dish from a side view (though there’s plenty of parallax in a lot of places), and it’s all done with… papercraft? I think of it as papercraft. Everything is built out of painted chunks that look like they were cut out of paper. It’s most obvious when watching the protagonist move around; her legs and skirt swivel as she walks.

Less obvious are the occasional places where tiny details repeat in the background because a paper cutout was reused. I don’t bring that up as a dig on the art; on the contrary, I really liked noticing that once or twice. It made the world feel like it was made with a tileset (albeit with very large chunky tiles), like it’s slightly artificial. I’m used to seeing sidescrollers made from tiles, of course, but the tiles are usually colorful and cartoony pixel art; big gritty full-color tiles are unusual and eerie.

And that’s a good thing in a horror game! Detention’s setting is already slightly unreal, and it’s made all the moreso by my Western perspective: it takes place in a Taiwanese school in the 60’s, a time when Taiwan was apparently under martial law. The Steam page tells you this, but I didn’t even know that much when we started playing, so I’d effectively been dropped somewhere on the globe and left to collect the details myself. Even figuring out we were in Taiwan (rather than mainland China) felt like an insight.

Thinking back, it was kind of a breath of fresh air. Games can be pretty heavy-handed about explaining the setting, but I never got that feeling from Detention. There’s more than enough context to get what’s going on, but there are no “stop and look at the camera while monologuing some exposition” moments. The developers are based in Taiwan, so it’s possible the setting is plenty familiar to them, and my perception of it is a complete accident. Either way, it certainly made an impact. Death of the author and whatnot, I suppose.

One thing in particular that stood out: none of the Chinese text in the environment is directly translated. The protagonist’s thoughts still give away what it says — “this is the nurse’s office” and the like — but that struck me as pretty different from simply repeating the text in English as though I were reading a sign in an RPG. The text is there, perfectly legible, but I can’t read it; I can only ask the protagonist to read it and offer her thoughts. It drives home that I’m experiencing the world through the eyes of the protagonist, who is their own person with their own impression of everything. Again, this is largely an emergent property of the game’s being designed in a culture that is not mine, but I’m left wondering how much thought went into this style of localization.

The game itself sees you wandering through a dark and twisted version of the protagonist’s school, collecting items and solving puzzles with them. There’s no direct combat, though some places feature a couple varieties of spirits called lingered which you have to carefully avoid. As the game progresses, the world starts to break down, alternating between increasingly abstract and increasingly concrete as we find out who the protagonist is and why she’s here.

The payoff is very personal and left a lasting impression… though as I look at the Wikipedia page now, it looks like the ending we got was the non-canon bad ending?! Well, hell. The bad ending is still great, then.

The whole game has a huge Silent Hill vibe, only without the combat and fog. Frankly, the genre might work better without combat; personal demons are more intimidating and meaningful when you can’t literally shoot them with a gun until they’re dead.

FINAL SCORE: 拾

Viatoree

short · platformer · sep 2013 · win · free on itch

I found this because @itchio tweeted about it, and the phrase “atmospheric platform exploration game” is the second most beautiful sequence of words in the English language.

The first paragraph on the itch.io page tells you the setup. That paragraph also contains more text than the entire game. In short: there are five things, and you need to find them. You can walk, jump, and extend your arms straight up to lift yourself to the ceiling. That’s it. No enemies, no shooting, no NPCs (more or less).

The result is, indeed, an atmospheric platform exploration game. The foreground is entirely 1-bit pixel art, save for the occasional white pixel to indicate someone’s eyes, and the background is only a few shades of the same purple hue. The game becomes less about playing and more about just looking at the environmental detail, appreciating how much texture the game manages to squeeze out of chunky colorless pixels. The world is still alive, too, much moreso than most platformers; tiny critters appear here and there, doing some wandering of their own, completely oblivious to you.

The game is really short, but it… just… makes me happy. I’m happy that this can exist, that not only is it okay for someone to make a very compact and short game, but that the result can still resonate with me. Not everything needs to be a sprawling epic or ask me to dedicate hours of time. It takes a few tiny ideas, runs with them, does what it came to do, and ends there. I love games like this.

That sounds silly to write out, but it’s been hard to get into my head! I do like experimenting, but I also feel compelled to reach for the grandiose, and grandiose experiment sounds more like mad science than creative exploration. For whatever reason, Viatoree convinced me that it’s okay to do a small thing, in a way that no other jam game has. It was probably the catalyst that led me to make Roguelike Simulator, and I thank it for that.

Unfortunately, we collected four of the five macguffins before hitting upon on a puzzle we couldn’t make heads or tails of. After about ten minutes of fruitless searching, I decided to abandon this one unfinished, rather than bore my couch partner to tears. Maybe I’ll go take another stab at it after I post this.

FINAL SCORE: ●●●●○

Paletta

medium · puzzle story · nov 2017 · win · free on itch

Paletta, another RPG Maker work, won second place in the month-long Indie Game Maker Contest 2017. Nice! Apparently MOOP came in fourth in the same jam; also nice! I guess that’s why both of them ended up on the itch front page.

The game is set in a world drained of color, and you have to go restore it. Each land contains one lost color, and each color gives you a corresponding spell, which is generally used for some light puzzle-solving in further lands. It’s a very cute and light-hearted game, and it actually does an impressive job of obscuring its RPG Maker roots.

The world feels a little small to me, despite having fairly spacious maps. The progression is pretty linear: you enter one land, talk to a small handful of NPCs, solve the one puzzle, get the color, and move on. I think all the areas were continuously connected, too, which may have thrown me off a bit — these areas are described as though they were vast regions, but they’re all a hundred feet wide and nestled right next to each other.

I love playing with color as a concept, and I wish the game had run further with it somehow. Rescuing a color does add some color back to the world, but at times it seemed like the color that reappeared was somewhat arbitrary? It’s not like you rescue green and now all the green is back. Thinking back on it now, I wonder if each rescued color actually changed a fixed set of sprites from gray to colorized? But it’s been a month (oops) and now I’m not sure.

I’m not trying to pick on the authors for the brevity of their jam game and also first game they’ve ever finished. I enjoyed playing it and found it plenty charming! It just happens that this time, what left the biggest impression on me was a nebulous feeling that something was missing. I think that’s still plenty important to ponder.

FINAL SCORE: ❤️💛💚💙💜

Hollywood Wins ISP Blockade Against Popular Pirate Sites in Ireland

Post Syndicated from Ernesto original https://torrentfreak.com/hollywood-wins-isp-blockade-against-popular-pirate-sites-in-ireland-180116/

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

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. The Motion Picture Association (MPA) has therefore asked the Commercial Court to expand the blockades to other sites.

On behalf of several major Hollywood studios, the group most recently targeted a group of the most used torrent and streaming sites; 1337x.io, EZTV.ag, Bmovies.is, 123movieshub.to, Putlocker.io, RARBG.to, Gowatchfreemovies.to and YTS.am.

On Monday the Commercial Court sided with the movie studios ordering all major Irish ISPs to block the sites. The latest order applies to Eircom, Sky Ireland, Vodafone Ireland, Virgin Media Ireland, Three Ireland, Digiweb, Imagine Telecommunications and Magnet Networks.

According to Justice Brian McGovern, the movie studios had made it clear that the sites in question infringed their copyrights. As such, there are “significant public interest grounds” to have them blocked.

Irish Examiner reports that none of the ISPs opposed the blocking request. This means that new pirate site blockades are mostly a formality now.

MPA EMEA President and Managing Director Stan McCoy is happy with the outcome, which he says will help to secure jobs in the movie industry.

“As the Irish film industry is continuing to thrive, the MPA is dedicated to supporting that growth by combatting the operations of illegal sites that undermine the sustainability of the sector,” McCoy says.

“Preventing these pirate sites from freely disturbing other people’s work will help us provide greater job security for the 18,000 people employed through the Irish film industry and ensure that consumers can continue to enjoy high quality content in the future.”

The MPA also obtained similar blocks against movie4k.to, primewire.ag, and onwatchseries.to. last year, which remain in effect to date.

The torrent and streaming sites that were targeted most recently have millions of visitors worldwide. While the blockades will make it harder for the Irish to access them directly, history has shown that some people circumvent these measures or simply move to other sites.

Several of the targeted sites themselves are also keeping a close eye on these blocking efforts and are providing users with alternative domains to bypass the restrictions, at least temporarily.

As such, it would be no surprise if the Hollywood studios return to the Commercial Court again in a few months.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Now Open – Third AWS Availability Zone in London

Post Syndicated from Jeff Barr original https://aws.amazon.com/blogs/aws/now-open-third-aws-availability-zone-in-london/

We expand AWS by picking a geographic area (which we call a Region) and then building multiple, isolated Availability Zones in that area. Each Availability Zone (AZ) has multiple Internet connections and power connections to multiple grids.

Today I am happy to announce that we are opening our 50th AWS Availability Zone, with the addition of a third AZ to the EU (London) Region. This will give you additional flexibility to architect highly scalable, fault-tolerant applications that run across multiple AZs in the UK.

Since launching the EU (London) Region, we have seen an ever-growing set of customers, particularly in the public sector and in regulated industries, use AWS for new and innovative applications. Here are a couple of examples, courtesy of my AWS colleagues in the UK:

Enterprise – Some of the UK’s most respected enterprises are using AWS to transform their businesses, including BBC, BT, Deloitte, and Travis Perkins. Travis Perkins is one of the largest suppliers of building materials in the UK and is implementing the biggest systems and business change in its history, including an all-in migration of its data centers to AWS.

Startups – Cross-border payments company Currencycloud has migrated its entire payments production, and demo platform to AWS resulting in a 30% saving on their infrastructure costs. Clearscore, with plans to disrupting the credit score industry, has also chosen to host their entire platform on AWS. UnderwriteMe is using the EU (London) Region to offer an underwriting platform to their customers as a managed service.

Public Sector -The Met Office chose AWS to support the Met Office Weather App, available for iPhone and Android phones. Since the Met Office Weather App went live in January 2016, it has attracted more than half a million users. Using AWS, the Met Office has been able to increase agility, speed, and scalability while reducing costs. The Driver and Vehicle Licensing Agency (DVLA) is using the EU (London) Region for services such as the Strategic Card Payments platform, which helps the agency achieve PCI DSS compliance.

The AWS EU (London) Region has achieved Public Services Network (PSN) assurance, which provides UK Public Sector customers with an assured infrastructure on which to build UK Public Sector services. In conjunction with AWS’s Standardized Architecture for UK-OFFICIAL, PSN assurance enables UK Public Sector organizations to move their UK-OFFICIAL classified data to the EU (London) Region in a controlled and risk-managed manner.

For a complete list of AWS Regions and Services, visit the AWS Global Infrastructure page. As always, pricing for services in the Region can be found on the detail pages; visit our Cloud Products page to get started.

Jeff;

Tickbox Clearly Promotes and Facilitates Piracy, Hollywood Tells Court

Post Syndicated from Ernesto original https://torrentfreak.com/tickbox-clearly-promotes-and-facilitates-piracy-hollywood-tells-court-180115/

The rising popularity of piracy streaming boxes has turned into Hollywood’s main piracy concern in recent months.

While the hardware and media players such as Kodi are not a problem, sellers who ship devices with unauthorized add-ons turn them into fully-fledged piracy machines.

According to the Alliance for Creativity and Entertainment (ACE), an anti-piracy partnership comprised of Hollywood studios, Netflix, Amazon, and more than two dozen other companies, Tickbox TV is one of these bad actors.

Last year, ACE filed a lawsuit against the Georgia-based company, which sells set-top boxes that allow users to stream a variety of popular media. The Tickbox devices use the Kodi media player and comes with instructions on how to add various add-ons.

According to ACE, these devices are nothing more than pirate tools, allowing buyers to stream copyright-infringing content. The coalition, therefore, asked the court for a permanent injunction to remove all infringing add-ons from previously sold devices.

Tickbox maintained its innocence, however. The company informed the court that its box is a simple computer like any other, which is perfectly legal.

According to Tickbox, they don’t have anything to do with the infringing “Themes” that users can select on their device. These themes feature several addons that link to infringing content.

This explanation doesn’t sit well with the movie companies, which submitted a reply to the court late last week. They claim that Tickbox is deliberately downplaying their own role, as they are the ones who decided to make these themes accessible through their boxes.

“TickBox falsely claims that the presence of these ‘Themes’ on TickBox devices ‘have nothing to do with Defendant’,” ACE’s reply reads.

“To the contrary, TickBox intentionally chooses which ‘Themes’ to include on its ‘Select your Theme’ menu for the TickBox TV interface, and TickBox pushes out automatic software updates to its customers’ TickBox TV devices.”

The movie companies also dispute Tickbox’s argument that they don’t induce copyright infringement because their device is “simply a small computer” that has many legitimate uses.

This liability question isn’t about whether Tickbox stores any infringing material or runs pirate streams through their servers, they counter. It’s about the intended use and how Tickbox promotes its product.

“TickBox’s liability arises based on its advertising and promoting TickBox TV as a tool for infringing use, and from designing and including software on the device that encourages access to infringing streams from third-party sources.”

ACE notes that, unlike Tickbox claims, the current case shows a lot of parallels with previous landmark cases including Grokster and Fung [isoHunt].

The isoHunt website didn’t store and infringing material, nor was it crucial in the torrent piracy ecosystem. However, it was liable because the operator willingly facilitated copyright infringing activity. This is what Tickbox does too, according to ACE.

“TickBox ‘competes’ with legitimate services by telling customers that they can access the same content available from legitimate distributors ‘ABSOLUTELY FREE’ and that customers therefore ‘will find that you no longer need those subscriptions’.”

The movie companies therefore ask the court to issue the requested injunction. They want all existing devices to be impounded and Tickbox should, through an update, remove infringing addons from already sold devices.

Tickbox argued that this would require them to “hack into” their customers’ boxes and delete content. ACE, however, says that this is a simple update and nothing different from what the company has done in the past.

“The proposed injunction would merely obligate TickBox to make good on its halfhearted and ineffective efforts to do what it claims to have already done: remove Kodi builds with illicit addons from TickBox TV,” ACE writes.

“As demonstrated by TickBox’s own, repeated software updates since the filing of Plaintiffs’ Complaint, TickBox has the means and ability to easily and remotely change what options users see and can access on their TickBox TVs.”

After having heard the arguments from both sides, it’s now up to the California federal court to decide who’s right.

The current case should set an important precedent. In addition to Tickbox, ACE also filed a similar lawsuit against Dragon Box. Clearly, the coalition is determined to get these alleged pirate devices off the market.

A copy of ACE’s reply is available here (pdf).

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

US Govt Brands Torrent, Streaming & Cyberlocker Sites As Notorious Markets

Post Syndicated from Andy original https://torrentfreak.com/us-govt-brands-torrent-streaming-cyberlocker-sites-as-notorious-markets-180115/

In its annual “Out-of-Cycle Review of Notorious Markets” the office of the United States Trade Representative (USTR) has listed a long list of websites said to be involved in online piracy.

The list is compiled with high-level input from various trade groups, including the MPAA and RIAA who both submitted their recommendations (1,2) during early October last year.

With the word “allegedly” used more than two dozen times in the report, the US government notes that its report does not constitute cast-iron proof of illegal activity. However, it urges the countries from where the so-called “notorious markets” operate to take action where they can, while putting owners and facilitators on notice that their activities are under the spotlight.

“A goal of the List is to motivate appropriate action by owners, operators, and service providers in the private sector of these and similar markets, as well as governments, to reduce piracy and counterfeiting,” the report reads.

“USTR highlights the following marketplaces because they exemplify global counterfeiting and piracy concerns and because the scale of infringing activity in these marketplaces can cause significant harm to U.S. intellectual property (IP) owners, consumers, legitimate online platforms, and the economy.”

The report begins with a page titled “Issue Focus: Illicit Streaming Devices”. Unsurprisingly, particularly given their place in dozens of headlines last year, the segment focus on the set-top box phenomenon. The piece doesn’t list any apps or software tools as such but highlights the general position, claiming a cost to the US entertainment industry of $4-5 billion a year.

Torrent Sites

In common with previous years, the USTR goes on to list several of the world’s top torrent sites but due to changes in circumstances, others have been delisted. ExtraTorrent, which shut down May 2017, is one such example.

As the world’s most famous torrent site, The Pirate Bay gets a prominent mention, with the USTR noting that the site is of “symbolic importance as one of the longest-running and most vocal torrent sites. The USTR underlines the site’s resilience by noting its hydra-like form while revealing an apparent secret concerning its hosting arrangements.

“The Pirate Bay has allegedly had more than a dozen domains hosted in various countries around the world, applies a reverse proxy service, and uses a hosting provider in Vietnam to evade further enforcement action,” the USTR notes.

Other torrent sites singled out for criticism include RARBG, which was nominated for the listing by the movie industry. According to the USTR, the site is hosted in Bosnia and Herzegovina and has changed hosting services to prevent shutdowns in recent years.

1337x.to and the meta-search engine Torrentz2 are also given a prime mention, with the USTR noting that they are “two of the most popular torrent sites that allegedly infringe U.S. content industry’s copyrights.” Russia’s RuTracker is also targeted for criticism, with the government noting that it’s now one of the most popular torrent sites in the world.

Streaming & Cyberlockers

While torrent sites are still important, the USTR reserves considerable space in its report for streaming portals and cyberlocker-type services.

4Shared.com, a file-hosting site that has been targeted by dozens of millions of copyright notices, is reportedly no longer able to use major US payment providers. Nevertheless, the British Virgin Islands company still collects significant sums from premium accounts, advertising, and offshore payment processors, USTR notes.

Cyberlocker Rapidgator gets another prominent mention in 2017, with the USTR noting that the Russian-hosted platform generates millions of dollars every year through premium memberships while employing rewards and affiliate schemes.

Due to its increasing popularity as a hosting and streaming operation, Openload.co (Romania) is now a big target for the USTR. “The site is used frequently in combination with add-ons in illicit streaming devices. In November 2017, users visited Openload.co a staggering 270 million times,” the USTR writes.

Owned by a Swiss company and hosted in the Netherlands, the popular site Uploaded is also criticized by the US alongside France’s 1Fichier.com, which allegedly hosts pirate games while being largely unresponsive to takedown notices. Dopefile.pk, a Pakistan-based storage outfit, is also highlighted.

On the video streaming front, it’s perhaps no surprise that the USTR focuses on sites like FMovies (Sweden), GoStream (Vietnam), Movie4K.tv (Russia) and PrimeWire. An organization collectively known as the MovShare group which encompasses Nowvideo.sx, WholeCloud.net, NowDownload.cd, MeWatchSeries.to and WatchSeries.ac, among others, is also listed.

Unauthorized music / research papers

While most of the above are either focused on video or feature it as part of their repertoire, other sites are listed for their attention to music. Convert2MP3.net is named as one of the most popular stream-ripping sites in the world and is highlighted due to the prevalence of YouTube-downloader sites and the 2017 demise of YouTube-MP3.

“Convert2MP3.net does not appear to have permission from YouTube or other sites and does not have permission from right holders for a wide variety of music represented by major U.S. labels,” the USTR notes.

Given the amount of attention the site has received in 2017 as ‘The Pirate Bay of Research’, Libgen.io and Sci-Hub.io (not to mention the endless proxy and mirror sites that facilitate access) are given a detailed mention in this year’s report.

“Together these sites make it possible to download — all without permission and without remunerating authors, publishers or researchers — millions of copyrighted books by commercial publishers and university presses; scientific, technical and medical journal articles; and publications of technological standards,” the USTR writes.

Service providers

But it’s not only sites that are being put under pressure. Following a growing list of nominations in previous years, Swiss service provider Private Layer is again singled out as a rogue player in the market for hosting 1337x.to and Torrentz2.eu, among others.

“While the exact configuration of websites changes from year to year, this is the fourth consecutive year that the List has stressed the significant international trade impact of Private Layer’s hosting services and the allegedly infringing sites it hosts,” the USTR notes.

“Other listed and nominated sites may also be hosted by Private Layer but are using
reverse proxy services to obfuscate the true host from the public and from law enforcement.”

The USTR notes Switzerland’s efforts to close a legal loophole that restricts enforcement and looks forward to a positive outcome when the draft amendment is considered by parliament.

Perhaps a little surprisingly given its recent anti-piracy efforts and overtures to the US, Russia’s leading social network VK.com again gets a place on the new list. The USTR recognizes VK’s efforts but insists that more needs to be done.

Social networking and e-commerce

“In 2016, VK reached licensing agreements with major record companies, took steps to limit third-party applications dedicated to downloading infringing content from the site, and experimented with content recognition technologies,” the USTR writes.

“Despite these positive signals, VK reportedly continues to be a hub of infringing activity and the U.S. motion picture industry reports that they find thousands of infringing files on the site each month.”

Finally, in addition to traditional pirate sites, the US also lists online marketplaces that allegedly fail to meet appropriate standards. Re-added to the list in 2016 after a brief hiatus in 2015, China’s Alibaba is listed again in 2017. The development provoked an angry response from the company.

Describing his company as a “scapegoat”, Alibaba Group President Michael Evans said that his platform had achieved a 25% drop in takedown requests and has even been removing infringing listings before they make it online.

“In light of all this, it’s clear that no matter how much action we take and progress we make, the USTR is not actually interested in seeing tangible results,” Evans said in a statement.

The full list of sites in the Notorious Markets Report 2017 (pdf) can be found below.

– 1fichier.com – (cyberlocker)
– 4shared.com – (cyberlocker)
– convert2mp3.net – (stream-ripper)
– Dhgate.com (e-commerce)
– Dopefile.pl – (cyberlocker)
– Firestorm-servers.com (pirate gaming service)
– Fmovies.is, Fmovies.se, Fmovies.to – (streaming)
– Gostream.is, Gomovies.to, 123movieshd.to (streaming)
– Indiamart.com (e-commerce)
– Kinogo.club, kinogo.co (streaming host, platform)
– Libgen.io, sci-hub.io, libgen.pw, sci-hub.cc, sci-hub.bz, libgen.info, lib.rus.ec, bookfi.org, bookzz.org, booker.org, booksc.org, book4you.org, bookos-z1.org, booksee.org, b-ok.org (research downloads)
– Movshare Group – Nowvideo.sx, wholecloud.net, auroravid.to, bitvid.sx, nowdownload.ch, cloudtime.to, mewatchseries.to, watchseries.ac (streaming)
– Movie4k.tv (streaming)
– MP3VA.com (music)
– Openload.co (cyberlocker / streaming)
– 1337x.to (torrent site)
– Primewire.ag (streaming)
– Torrentz2, Torrentz2.me, Torrentz2.is (torrent site)
– Rarbg.to (torrent site)
– Rebel (domain company)
– Repelis.tv (movie and TV linking)
– RuTracker.org (torrent site)
– Rapidgator.net (cyberlocker)
– Taobao.com (e-commerce)
– The Pirate Bay (torrent site)
– TVPlus, TVBrowser, Kuaikan (streaming apps and addons, China)
– Uploaded.net (cyberlocker)
– VK.com (social networking)

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Top 10 Most Pirated Movies of The Week on BitTorrent – 01/15/18

Post Syndicated from Ernesto original https://torrentfreak.com/top-10-pirated-movies-week-bittorrent-011518/

This week we have three newcomers in our chart.

The Shape of Water is the most downloaded movie again.

The data for our weekly download chart is estimated by TorrentFreak, and is for informational and educational reference only. All the movies in the list are Web-DL/Webrip/HDRip/BDrip/DVDrip unless stated otherwise.

RSS feed for the weekly movie download chart.

This week’s most downloaded movies are:
Movie Rank Rank last week Movie name IMDb Rating / Trailer
Most downloaded movies via torrents
1 (…) The Shape of Water (DVDScr) 8.0 / trailer
2 (4) Jumanji: Welcome to the Jungle (HDTS) 7.3 / trailer
3 (1) Blade Runner 2049 8.9 / trailer
4 (2) Coco (DVDscr) 8.9 / trailer
5 (…) Jigsaw 6.0 / trailer
6 (3) Justice League 7.1 / trailer
7 (5) Dunkirk 8.3 / trailer
8 (…) A Bad mom’s Christmas 5.7 / trailer
9 (9) Renegades 5.5 / trailer
10 (5) Bright 6.7 / trailer

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

“Where to Invade Next” Popular Among North Korean Pirates

Post Syndicated from Ernesto original https://torrentfreak.com/where-to-invade-next-popular-among-north-korean-pirates-180114/

Due to the public nature of BitTorrent transfers, it’s easy to see what a person behind a certain IP-address is downloading.

There are even entire sites dedicated to making this information public. This includes the ‘I Know What You Download‘ service we’ve covered in the past.

While the data are not complete or perfect, looking at the larger numbers provides some interesting insights. The site recently released its overview of the most downloaded titles in various categories per country, for example.

What stands out is that there’s a lot of overlap between countries that seem vastly different.

Game of Thrones is the most downloaded TV show in America, but also in Iran, Mongolia, Uruguay, and Zambia. Other popular TV-shows in 2017, such as The Flash, The Big Bang Theory, and The Walking Dead also appear in the top ten in all these countries.

On the movie side, a similar picture emerges. Titles such as Wonder Woman, The Fate of the Furious, and Logan appear in many of the top tens. In fact, browsing through the result for various countries there are surprisingly little outliers.

The movie Prityazhenie does well in Russia and in India, Dangal is among the most pirated titles, but most titles appear globally. Even in North Korea, where Internet access is extremely limited, Game of Thrones is listed as the most downloaded TV-show.

However, North Korea also shows some odd results, perhaps because there are only a few downloads per day on average.

Browsing through the most downloaded movies we see that there are a lot of kids’ movies in the top ten, with ‘Despicable Me’ as the top result, followed by ‘Moana’ and ‘Minions’. The Hobbit trilogy also made it into the top ten.

12 most pirated movies in North Korea (2017)

The most eye-catching result, however, is the Michael Moore documentary ‘Where to Invade Next.’ While the title may suggest something more malicious, in this travelogue Moore ‘invades’ countries around the world to see in what areas the US can improve itself.

It’s unclear why North Koreans are so interested in this progressive film. Perhaps they are trying to pick up a few tips as well. This could also explain why good old MacGyver is listed among the most downloaded TV-series.

The annual overview of ‘I Know What You Download’ is available here, for those who are interested in more country statistics.

Finally, we have to note that North Korean IP-ranges have been vulnerable to hijacks in the past so you’re never 100% sure who might be using them. It might be the Russians…

Image credit: KNCA

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Pirate Streaming on Facebook is a Seriously Risky Business

Post Syndicated from Andy original https://torrentfreak.com/pirate-streaming-on-facebook-is-a-seriously-risky-business-180114/

For more than a year the British public has been warned about the supposed dangers of Kodi piracy.

Dozens of headlines have claimed consequences ranging from system-destroying malware to prison sentences. Fortunately, most of them can be filed under “tabloid nonsense.”

That being said, there is an extremely important issue that deserves much closer attention, particularly given a shift in the UK legal climate during 2017. We’re talking about live streaming copyrighted content on Facebook, which is both incredibly easy and frighteningly risky.

This week it was revealed that 34-year-old Craig Foster from the UK had been given an ultimatum from Sky to pay a £5,000 settlement fee. The media giant discovered that he’d live-streamed the Anthony Joshua v Wladimir Klitschko fight on Facebook and wanted compensation to make a potential court case disappear.

While it may seem initially odd to use the word, Foster was lucky.

Under last year’s Digital Economy Act, he could’ve been jailed for up to ten years for distributing copyright-infringing content to the public, if he had “reason to believe that communicating the work to the public [would] cause loss to the owner of the copyright, or [would] expose the owner of the copyright to a risk of loss.”

Clearly, as a purchaser of the £19.95 pay-per-view himself, he would’ve appreciated that the event costs money. With that in mind, a court would likely find that he would have been aware that Sky would have been exposed to a “risk of loss”. Sky claim that 4,250 people watched the stream but the way the law is written, no specific level of loss is required for a breach of the law.

But it’s not just the threat of a jail sentence that’s the problem. People streaming live sports on Facebook are sitting ducks.

In Foster’s case, the fight he streamed was watermarked, which means that Sky put a tracking code into it which identified him personally as the buyer of the event. When he (or his friend, as Foster claims) streamed it on Facebook, it was trivial for Sky to capture the watermark and track it back to his Sky account.

Equally, it would be simplicity itself to see that the name on the Sky account had exactly the same name and details as Foster’s Facebook account. So, to most observers, it would appear that not only had Foster purchased the event, but he was also streaming it to Facebook illegally.

It’s important to keep something else in mind. No cooperation between Sky and Facebook would’ve been necessary to obtain Foster’s details. Take the amount of information most people share on Facebook, combine that with the information Sky already had, and the company’s anti-piracy team would have had a very easy job.

Now compare this situation with an upload of the same stream to a torrent site.

While the video capture would still contain Foster’s watermark, which would indicate the source, to prove he also distributed the video Sky would’ve needed to get inside a torrent swarm. From there they would need to capture the IP address of the initial seeder and take the case to court, to force an ISP to hand over that person’s details.

Presuming they were the same person, Sky would have a case, with a broadly similar level of evidence to that presented in the current matter. However, it would’ve taken them months to get their man and cost large sums of money to get there. It’s very unlikely that £5,000 would cover the costs, meaning a much, much bigger bill for the culprit.

Or, confident that Foster was behind the leak based on the watermark alone, Sky could’ve gone straight to the police. That never ends well.

The bottom line is that while live-streaming on Facebook is simplicity itself, people who do it casually from their own account (especially with watermarked content) are asking for trouble.

Nailing Foster was the piracy equivalent of shooting fish in a barrel but the worrying part is that he probably never gave his (or his friend’s…) alleged infringement a second thought. With a click or two, the fight was live and he was staring down the barrel of a potential jail sentence, had Sky not gone the civil route.

It’s scary stuff and not enough is being done to warn people of the consequences. Forget the scare stories attempting to deter people from watching fights or movies on Kodi, thoughtlessly streaming them to the public on social media is the real danger.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Are Torrent Sites Using DMCA Notices to Quash Their Competition?

Post Syndicated from Ernesto original https://torrentfreak.com/are-torrent-sites-using-dmca-notices-to-quash-their-competition-180114/

Every day, copyright holders send out millions of takedown notices to various services, hoping to protect their works.

While most of these requests are legitimate, the process is also being abused. Google prominently features examples of such dubious DMCA requests in its transparency report.

This week we were contacted by the owner of YTS.me after he noticed some unusual activity. In recent weeks his domain name has been targeted with a series of takedown notices from rather unusual people.

Senders with names such as Niklas Glockner, Michelle Williams, Maria Baader, Stefan Kuefer, Anja Herzog, and Markus Ostermann asked Google to remove thousands of YTS.me URLs.

Every notice lists just one movie title, but hundreds of links, most of which have nothing to do with the movie in question.

A few URLs from a single notice

These submitters are all relatively new and there is no sign that they are authorized by the applicable copyright holder. This, and the long list of irrelevant URLs suggest that these DMCA notices are abusive.

The owner of YTS.me believes that the senders have a clear motive. The purpose of the notices is to remove well-ranked pages and push the targeted sites down in Google’s search results.

“These all are fake people names submitting fake DMCA complaints and are not authorized to submit complaints,” the YTS.me operator notes.

“Even if they are real people they would have submitted, or are authorized to submit, complaints for only a few titles. Instead, they submit fake complaints and submit all the URLs possible on our website to degrade its ranking.”

The question that remains is, who is responsible for these notices? Looking at the list of sites that are targeted by these abusive senders we see a pattern emerge. They all target copycats of defunct sites such as YTS and ExtraTorrent.

Markus Osterman’s activity

This leads the YTS.me operator to the conclusion that one of its main competitors is sending these notices. While there is no hard evidence, it seems plausible that another YTS copycat is attempting to take the competition out of Google’s search results to gain more exposure itself.

YTS.me has a good idea of who the perpetrator(s) are – a person or group that also operates several other copycat sites. Thus far there’s no bulletproof evidence though, but it’s a likely explanation.

In any case, the DMCA takedown requests are definitely out of order and warrant further investigation by Google.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Wanted: Junior Support Technician

Post Syndicated from Yev original https://www.backblaze.com/blog/wanted-junior-support-technician/

Backblaze is growing and as we grow we want to make sure that our customers are very well taken care of! One of the departments that grows along with our customer base is the support department, which is located in our San Mateo, California headquarters. Want to jump start your career? Take a look below and if this sounds like you, apply to join our team!

Responsibilities:

  • Answer questions in the queue commonly found in the FAQ.
  • Ability to install and uninstall programs on Mac and PC.
  • Clear communication via email.
  • Learn and expand your knowledge base to become a Tech Support Agent.
  • Learn how to navigate the Zendesk support tool and create helpful macros and work flow views.
  • Create receipts for users that ask for them, via template.
  • Respond to any tickets that you get a reply to.
  • Ask questions for facilitate learning.
  • Obtain skills and knowledge to move into a Tier 2 position.

Requirements:

  • Excellent communication, time management, problem solving, and organizational skills.
  • Ability to learn quickly.
  • Position based in San Mateo, California.

Backblaze Employees Have:

  • Good attitude and willingness to do whatever it takes to get the job done.
  • Strong desire to work for a small, fast-paced company.
  • Desire to learn and adapt to rapidly changing technologies and work environment.
  • Comfortable with well-behaved pets in the office.

Backblaze is an Equal Opportunity Employer and we offer competitive salary and benefits, including our no policy vacation policy.

If This Sounds Like You:
Send an email to jobscontact@backblaze.com with:

  1. The position title in the subject line
  2. Your resume attached
  3. An overview of your relevant experience

The post Wanted: Junior Support Technician appeared first on Backblaze Blog | Cloud Storage & Cloud Backup.

Create SLUG! It’s just like Snake, but with a slug

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/slug-snake/

Recreate Snake, the favourite mobile phone game from the late nineties, using a slug*, a Raspberry Pi, a Sense HAT, and our free resource!

Raspberry Pi Sense HAT Slug free resource

*A virtual slug. Not a real slug. Please leave the real slugs out in nature.

Snake SLUG!

Move aside, Angry Birds! On your bike, Pokémon Go! When it comes to the cream of the crop of mobile phone games, Snake holds the top spot.

Snake Nokia Game

I could while away the hours…

You may still have an old Nokia 3310 lost in the depths of a drawer somewhere — the drawer that won’t open all the way because something inside is jammed at an odd angle. So it will be far easier to grab your Pi and Sense HAT, or use the free Sense HAT emulator (online or on Raspbian), and code Snake SLUG yourself. In doing so, you can introduce the smaller residents of your household to the best reptile-focused game ever made…now with added mollusc.

The resource

To try out the game for yourself, head to our resource page, where you’ll find the online Sense HAT emulator embedded and ready to roll.

Raspberry Pi Sense HAT Slug free resource

It’ll look just like this, and you can use your computer’s arrow keys to direct your slug toward her tasty treats.

From there, you’ll be taken on a step-by-step journey from zero to SLUG glory while coding your own versionof the game in Python. On the way, you’ll learn to work with two-dimensional lists and to use the Sense HAT’s pixel display and joystick input. And by completing the resource, you’ll expand your understanding of applying abstraction and decomposition to solve more complex problems, in line with our Digital Making Curriculum.

The Sense HAT

The Raspberry Pi Sense HAT was originally designed and made as part of the Astro Pi mission in December 2015. With an 8×8 RGB LED matrix, a joystick, and a plethora of on-board sensors including an accelerometer, gyroscope, and magnetometer, it’s a great add-on for your digital making toolkit, and excellent for projects involving data collection and evaluation.

You can find more of our free Sense HAT tutorials here, including for making Flappy Bird Astronaut, a marble maze, and Pong.

The post Create SLUG! It’s just like Snake, but with a slug appeared first on Raspberry Pi.

Netflix, Amazon and Hollywood Sue Kodi-Powered Dragon Box Over Piracy

Post Syndicated from Ernesto original https://torrentfreak.com/netflix-amazon-and-hollywood-sue-kodi-powered-dragon-box-over-piracy-180111/

More and more people are starting to use Kodi-powered set-top boxes to stream video content to their TVs.

While Kodi itself is a neutral platform, sellers who ship devices with unauthorized add-ons give it a bad reputation.

In recent months these boxes have become the prime target for copyright enforcers, including the Alliance for Creativity and Entertainment (ACE), an anti-piracy partnership between Hollywood studios, Netflix, Amazon, and more than two dozen other companies.

After suing Tickbox last year a group of key ACE members have now filed a similar lawsuit against Dragon Media Inc, which sells the popular Dragon Box. The complaint, filed at a California federal court, also lists the company’s owner Paul Christoforo and reseller Jeff Williams among the defendants.

According to ACE, these type of devices are nothing more than pirate tools, allowing buyers to stream copyright infringing content. That also applies to Dragon Box, they inform the court.

“Defendants market and sell ‘Dragon Box,’ a computer hardware device that Defendants urge their customers to use as a tool for the mass infringement of the copyrighted motion pictures and television shows,” the complaint, picked up by HWR, reads.

The movie companies note that the defendants distribute and promote the Dragon Box as a pirate tool, using phrases such as “Watch your Favourites Anytime For FREE” and “stop paying for Netflix and Hulu.”

Dragon Box

When users follow the instructions Dragon provides they get free access to copyrighted movies, TV-shows and live content, ACE alleges. The complaint further points out that the device uses the open source Kodi player paired with pirate addons.

“The Dragon Media application provides Defendants’ customers with a customized configuration of the Kodi media player and a curated selection of the most popular addons for accessing infringing content,” the movie companies write.

“These addons are designed and maintained for the overarching purpose of scouring the Internet for illegal sources of copyrighted content and returning links to that content. When Dragon Box customers click those links, those customers receive unauthorized streams of popular motion pictures and television shows.”

One of the addons that are included with the download and installation of the Dragon software is Covenant.

This addon can be accessed through a preinstalled shortcut which is linked under the “Videos” menu. Users are then able to browse through a large library of curated content, including a separate category of movies that are still in theaters.

In theaters

According to a statement from Dragon owner Christoforo, business is going well. The company claims to have “over 250,000 customers in 50 states and 4 countries and growing” as well as “374 sellers” across the world.

With this lawsuit, however, the company’s future has suddenly become uncertain.

The movie companies ask the California District for an injunction to shut down the infringing service and impound all Dragon Box devices. In addition, they’re requesting statutory damages which can go up to several million dollars.

At the time of writing the Dragon Box website is still in on air and the company has yet to comment on the allegations.

A copy of the complaint is available here (pdf).

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Graphite 1.1: Teaching an Old Dog New Tricks

Post Syndicated from Blogs on Grafana Labs Blog original https://grafana.com/blog/2018/01/11/graphite-1.1-teaching-an-old-dog-new-tricks/

The Road to Graphite 1.1

I started working on Graphite just over a year ago, when @obfuscurity asked me to help out with some issues blocking the Graphite 1.0 release. Little did I know that a year later, that would have resulted in 262 commits (and counting), and that with the help of the other Graphite maintainers (especially @deniszh, @iksaif & @cbowman0) we would have added a huge amount of new functionality to Graphite.

There are a huge number of new additions and updates in this release, in this post I’ll give a tour of some of the highlights including tag support, syntax and function updates, custom function plugins, and python 3.x support.

Tagging!

The single biggest feature in this release is the addition of tag support, which brings the ability to describe metrics in a much richer way and to write more flexible and expressive queries.

Traditionally series in Graphite are identified using a hierarchical naming scheme based on dot-separated segments called nodes. This works very well and is simple to map into a hierarchical structure like the whisper filesystem tree, but it means that the user has to know what each segment represents, and makes it very difficult to modify or extend the naming scheme since everything is based on the positions of the segments within the hierarchy.

The tagging system gives users the ability to encode information about the series in a collection of tag=value pairs which are used together with the series name to uniquely identify each series, and the ability to query series by specifying tag-based matching expressions rather than constructing glob-style selectors based on the positions of specific segments within the hierarchy. This is broadly similar to the system used by Prometheus and makes it possible to use Graphite as a long-term storage backend for metrics gathered by Prometheus with full tag support.

When using tags, series names are specified using the new tagged carbon format: name;tag1=value1;tag2=value2. This format is backward compatible with most existing carbon tooling, and makes it easy to adapt existing tools to produce tagged metrics simply by changing the metric names. The OpenMetrics format is also supported for ingestion, and is normalized into the standard Graphite format internally.

At its core, the tagging system is implemented as a tag database (TagDB) alongside the metrics that allows them to be efficiently queried by individual tag values rather than having to traverse the metrics tree looking for series that match the specified query. Internally the tag index is stored in one of a number of pluggable tag databases, currently supported options are the internal graphite-web database, redis, or an external system that implements the Graphite tagging HTTP API. Carbon automatically keeps the index up to date with any tagged series seen.

The new seriesByTag function is used to query the TagDB and will return a list of all the series that match the expressions passed to it. seriesByTag supports both exact and regular expression matches, and can be used anywhere you would previously have specified a metric name or glob expression.

There are new dedicated functions for grouping and aliasing series by tag (groupByTags and aliasByTags), and you can also use tags interchangeably with node numbers in the standard Graphite functions like aliasByNode, groupByNodes, asPercent, mapSeries, etc.

Piping Syntax & Function Updates

One of the huge strengths of the Graphite render API is the ability to chain together multiple functions to process data, but until now (unless you were using a tool like Grafana) writing chained queries could be painful as each function had to be wrapped around the previous one. With this release it is now possible to “pipe” the output of one processing function into the next, and to combine piped and nested functions.

For example:

alias(movingAverage(scaleToSeconds(sumSeries(stats_global.production.counters.api.requests.*.count),60),30),'api.avg')

Can now be written as:

sumSeries(stats_global.production.counters.api.requests.*.count)|scaleToSeconds(60)|movingAverage(30)|alias('api.avg')

OR

stats_global.production.counters.api.requests.*.count|sumSeries()|scaleToSeconds(60)|movingAverage(30)|alias('api.avg')

Another source of frustration with the old function API was the inconsistent implementation of aggregations, with different functions being used in different parts of the API, and some functions simply not being available. In 1.1 all functions that perform aggregation (whether across series or across time intervals) now support a consistent set of aggregations; average, median, sum, min, max, diff, stddev, count, range, multiply and last. This is part of a new approach to implementing functions that emphasises using shared building blocks to ensure consistency across the API and solve the problem of a particular function not working with the aggregation needed for a given task.

To that end a number of new functions have been added that each provide the same functionality as an entire family of “old” functions; aggregate, aggregateWithWildcards, movingWindow, filterSeries, highest, lowest and sortBy.

Each of these functions accepts an aggregation method parameter, for example aggregate(some.metric.*, 'sum') implements the same functionality as sumSeries(some.metric.*).

It can also be used with different aggregation methods to replace averageSeries, stddevSeries, multiplySeries, diffSeries, rangeOfSeries, minSeries, maxSeries and countSeries. All those functions are now implemented as aliases for aggregate, and it supports the previously-missing median and last aggregations.

The same is true for the other functions, and the summarize, smartSummarize, groupByNode, groupByNodes and the new groupByTags functions now all support the standard set of aggregations. Gone are the days of wishing that sortByMedian or highestRange were available!

For more information on the functions available check the function documentation.

Custom Functions

No matter how many functions are available there are always going to be specific use-cases where a custom function can perform analysis that wouldn’t otherwise be possible, or provide a convenient alias for a complicated function chain or specific set of parameters.

In Graphite 1.1 we added support for easily adding one-off custom functions, as well as for creating and sharing plugins that can provide one or more functions.

Each function plugin is packaged as a simple python module, and will be automatically loaded by Graphite when placed into the functions/custom folder.

An example of a simple function plugin that translates the name of every series passed to it into UPPERCASE:

from graphite.functions.params import Param, ParamTypes

def toUpperCase(requestContext, seriesList):
  """Custom function that changes series names to UPPERCASE"""
  for series in seriesList:
    series.name = series.name.upper()
  return seriesList

toUpperCase.group = 'Custom'
toUpperCase.params = [
  Param('seriesList', ParamTypes.seriesList, required=True),
]

SeriesFunctions = {
  'upper': toUpperCase,
}

Once installed the function is not only available for use within Grpahite, but is also exposed via the new Function API which allows the function definition and documentation to be automatically loaded by tools like Grafana. This means that users will be able to select and use the new function in exactly the same way as the internal functions.

More information on writing and using custom functions is available in the documentation.

Clustering Updates

One of the biggest changes from the 0.9 to 1.0 releases was the overhaul of the clustering code, and with 1.1.1 that process has been taken even further to optimize performance when using Graphite in a clustered deployment. In the past it was common for a request to require the frontend node to make multiple requests to the backend nodes to identify matching series and to fetch data, and the code for handling remote vs local series was overly complicated. In 1.1.1 we took a new approach where all render data requests pass through the same path internally, and multiple backend nodes are handled individually rather than grouped together into a single finder. This has greatly simplified the codebase, making it much easier to understand and reason about, while allowing much more flexibility in design of the finders. After these changes, render requests can now be answered with a single internal request to each backend node, and all requests for both remote and local data are executed in parallel.

To maintain the ability of graphite to scale out horizontally, the tagging system works seamlessly within a clustered environment, with each node responsible for the series stored on that node. Calls to load tagged series via seriesByTag are fanned out to the backend nodes and results are merged on the query node just like they are for non-tagged series.

Python 3 & Django 1.11 Support

Graphite 1.1 finally brings support for Python 3.x, both graphite-web and carbon are now tested against Python 2.7, 3.4, 3.5, 3.6 and PyPy. Django releases 1.8 through 1.11 are also supported. The work involved in sorting out the compatibility issues between Python 2.x and 3.x was quite involved, but it is a huge step forward for the long term support of the project! With the new Django 2.x series supporting only Python 3.x we will need to evaluate our long-term support for Python 2.x, but the Django 1.11 series is supported through 2020 so there is time to consider the options there.

Watch This Space

Efforts are underway to add support for the new functionality across the ecosystem of tools that work with Graphite, adding collectd tagging support, prometheus remote read & write with tags (and native Prometheus remote read/write support in Graphite) and last but not least Graphite tag support in Grafana.

We’re excited about the possibilities that the new capabilities in 1.1.x open up, and can’t wait to see how the community puts them to work.

Download the 1.1.1 release and check out the release notes here.