A DVD store buys the rights to distribute this movie from Paramount, and sells DVDs. But if that was the only leverage content producers had, what would happen is that users would obtain their content from those content distributors, and then use third-party content playback systems to read it, letting them do so in whatever manner they wanted.Ī. The purpose of DRM is to give content providers leverage against creators of playback devices.Ĭontent providers have leverage against content distributors, because distributors can't legally distribute copyrighted content without the permission of the content's creators. The purpose of DRM is not to prevent copyright violations. Usually the arguments from pro-DRM people are that #2 and #3 are false. It turns out that this argument is fundamentally flawed. movies on file sharing sites) often come from sources that aren't encrypted in the first place, e.g. And in any case widespread copyright violations (e.g. You can't hide something from someone while showing it to them,ģ. The purpose of DRM is to prevent people from copying content while allowing people to view that content,Ģ. Hell, I've preserved news broadcasts of work I've been involved with that made it to the news that I have to this day, and that is only significant to me really.ĭiscussions about DRM often land on the fundamental problem with DRM: that it doesn't work, or worse, that it is in fact mathematically impossible to make it work. I don't know how expensive the medium was but I would have caused quite a stir about preserving something like this. I've worked in some cash strapped research labs so I get the need to repurpose when budgets are tight but come on. It's like you filmed Gangnam Style in 8k, downsampled to 720p for YouTube and then threw the original copy away even after you saw the views climbing to 10s of thousands (or in this case, 10s of millions). While I get that hindsight is 20/20, it doesn't take too much intuition to realize if you're sharing something worldwide or the rest of the world watched it, you should probably keep the highest quality copy. >In the early 1980s, NASA's Landsat program was facing a severe data tape shortage and it is likely the tapes were erased and reused at this time. But those in Mission Control DID have a nice crisp view, and the rest of us may never get to experience that :( That was the moon landing experience for nearly everyone on earth. It is accurate in that for the billion people watching live, this grainy low contrast video is what they correctly remember seeing. All we have now is that shitty TV camera recording of a TV screen with terrible contrast where you can barely see anything. Unfortunately the primary recording was accidentally destroyed, and the backups are missing. But because it was proprietary, for the media event they piped the high resolution imagery into a crummy TV somewhere in Houston, and pointed a run of the mill TV production camera at this little TV screen, as a low tech conversion just for that night. It was recorded with basically the best camera they could send, and digitized and returned to earth with a proprietary signal format invented just for this purpose, to ensure the highest possible resolution and accuracy as 1969 tech could provide. The actual signal from the moon, which people at Mission Control would have seen, had a FAR better resolution and contrast. It was broadcast live, but all we have is the grainy, shitty, washed out recording of the national news you see shown everywhere. ![]() Yes, the original video recording of the moon landing has been lost. I guess it's not too different from people able to do game jams, or hackatons. I wonder if we could apply this to coding. But it is really cool to see people able to do things fast. Naturally, to make something "beautiful" takes more than "speed" and "familiarity with the genre". And they also know the rules well enough to be able to break them. Then, the chord progression often "suggests" a melody (meaning: some notes sound more natural over different chords), and melodies often also "suggests" some lyrics. They know intricacies of the styles they work with, like chord progressions, rhythms, song structures, arrangement conventions and cliche lines. Those super-fast soundtrack/jingle composers, session musicians and professional songwriters have this "little bag of tricks" in their heads that they use to move fast and iterate. I know a couple people who work with soundtracks professionally for TV, and the crazy thing is that "writing songs fast" is a totally different skill in itself, so it's not enough to be an amazing player with decades of experience, or even an amazing songwriter, it's a different superpower that impresses other musicians too.
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