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Streaming media is of concern to copyright holders because a piece of streaming media can be replicated without authorization and redistributed globally in seconds. In fact, with digital television, if everybody in the world had a digital recorder (like a DVD recorder, for example), the owners of digital television programs and feature films would already have a major problem with copyright enforcement. As with audio CDs, pirate copies could take significant revenues away from legitimate distribution channels. Historically, copyright owners have sought to prohibit or else tax home recording. They have done this by influencing equipment manufacturers to include features in their products that make copying impossible or by setting up region coding, so that media cannot easily cross borders. Paradoxically, despite industry opposition to every new technology that allows content to be copied at home, copyright owners have, in fact, made more money. For example, Hollywood initially vehemently opposed the makers of VHS machines, claiming that home taping would wipe out their industry. Yet, revenues from videocassette sales now comprise a significant proportion of the earnings of feature films. In my opinion, the truth of the matter is that the customer is king. Customers just want access to media of interest. Whether they make a physical copy or not, their aim is just to access the content. Few people with the means to pay for content begrudge making the payment. Even the most self-interested individuals realize that undermining the earnings of their favorite content producers by stealing their works, results in less output from those producers. On the other hand, there is a ground swell of opinion that counters this, saying that once content producers have made a fair return on their work, grasping for further payment, to fund what often are flagrantly extravagant lifestyles, is pure greed. Content owners face a difficult choice. On the one hand, they need to expose their work to a large audience in order to build a following. In this case, things like Napster actually help, because they expose an artist s work to a wider public. On the other hand, they need to make enough from selling access to their work to enable them to continue working as artists. Here, Napster merely takes money, to which they feel entitled, from their pockets. Digital Rights Management (DRM) systems have been designed to augment streaming media. With a DRM system, consumers are free to copy and redistribute digital media at will, but the content owner regulates the conditions under which the media can be played. This gives the content owner the ability to allow free playing and copying of content for
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perhaps the first ten days after release and then charge a nominal fee per play thereafter. Copies may then only be allowed, provided the recipient of the copy is identified and pays a license fee to play the media. When pirate copies were made and sold, it would be possible to identify the thief, since each copy of the media that gets distributed could be stamped with a unique ID. The system is not perfect and there are ways of getting around the protection. However, it does provide a tool for the management of copyright to at least some degree. What is far from clear is whether or not consumers will tolerate the inconvenience of needing to obtain a license every time they wish to play a piece of media, or if they will allow their privacy to be compromised in the name of monitoring copyright abuse. Digital television potentially faces all the same problems, as does any digital medium (computer games, for example). The difference is that the problems are not as easy to manifest with the digital television system and digital television s rights management and conditional access solutions are not as flexible as streaming media s digital rights management solutions for the user or copyright owner.
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