Sentosa Technology Consultants | | +1 303-809-8043 Sentosa Technology Consultants, USA KDDI Labs...

Sentosa Technology Consultants | www.sentosatech.com | +1 303-809-8043

Sentosa Technology Consultants, USA

www.sentosatech.com

KDDI Labs Anti-Piracy Software


• History of KDDI/ KDDI R&D • Understanding Customer space• KDDI Software• Technology strategy• Technology description• How technology can fit into

workflows• How KDDI can support optimization

Agenda


• KDDI (formerly KDD) was established in 1953 including research department– Now : total employees 16,000 with 270 working in R&D Labs– Now: Japan’s 2nd largest telecom provider

• Work in 5 fields:– Mobile & Wireless– Multimedia & Applications– Photonic Networks– Security & Computer Architectures– IP Networks

• Holds essential patents in MPEG-2 video and MPEG-4 visual

• Technology developed that has practical application in more than 1 space

KDDI R&D Laboratories(Subsidiary of KDDI since 1998)


• UGC sites are uploading pirated content– Recent TV episodes (spikes after show is

broadcast)– Movies (Old & New)– These can either be camcorded or transcoded

from “the analog hole” and modified

• UGC sites uploads legitimate amateur content– Funny at home videos– Amateur news accounts– Amateur Shows

Understanding Customer Space


• Identify and remove pirated content– Requires fingerprinting or watermarking

databases– Large search space because have to examine a lot

of content– Multiple databases may be required to support

different technology implementations– Some of this is done manually in smaller UGC

sites• Identify pirated content and leave it there

– Play with advertisements and promotions– NYT – August 16th 2008 “Some Media Companies Choose

to Profit From Pirated YouTube Clips”• CBS, Universal Music, Lionsgate, Electronic Arts, others

What Can Be Done


• Automatically separates amateur content from professional content either at upload or later

• No database required• Reduces amount of content needed to be

identified (for example in a finger printing scenario)– Reduce identification processing time, and possibly costs

• Can identify content that is not yet in any fingerprint database

• Can be integrated into existing workflow and technologies of the UGC site

• Detects pirated material that was perhaps intentionally degraded but still provides an acceptable viewing experience

KDDI Software


• Examines video and extracts features indicative of professional content– Based on shooting devices, shooting techniques, post

production processes• Simple features- camera shaking, lighting, background

music– Focuses on features that survive transcoding and other

pirating processes

• Uses a discriminator against detection features to determine if measurements indicates professional content

• Outputs numeric value for level of professionalism (e.g. 1-10)

How It Works


• 3 to 30 seconds per analysis (2.4 GHZ Processor)– Inspection occurs 10%-50% of than real-time– 30 sec - 1 minute of real-time content duration needed

for determination– Actual time Depends upon time to decode and picture

size, as well as supporting hardware and decoding software

• Works from Mobile to HDTV resolutions• No need to maintain database of Video• Rotational, Cropping, Scaling invariant

It is a video content inspection engine!

Technology Properties


• Linux OS (for UGC sites)/ Windows OS• Operable on multi-core processers• AVI, WMV, MOV, FLV, MPG supportable• SDK Capability support for 3rd party

integration• Future: Time Indexable • Future: Batch Processing

This can speed up and complement existing content identification technologies in the workflow!

Product Features


• Camcorded Content– To point where content is not viewable

• Transcoded Material– To Point where content is not viewable

• “Fresh” Content – News and non fingerprinted content

types

• TV in Background content– If the screen becomes the majority of the picture

Detects Transformed Content(and other uncommon cases)


KDDI In House Testing Results• 1580 video clips randomly downloaded

from UGC site• Visual inspection determined that 477

were pirated (~30%)• KDDI Labs anti-piracy software

detected 474 of those in an automated fashion – 98% success rate

• False positive rate: 2.2%

Testing


Demonstration


Generalized UGC Pipeline

UGC Viewing Portal

Trans-code to Low Bandwidth Flash

Reject?No

Content

Identif

ied

reject =

yes

UGC Upload Portal

.mov.mwv

H.264 Etc.

Uncompress

Database

Fingerprint CheckWatermark Check Content Not

Identified

VisuallyInspect

VisuallyDeterminedTo Be Copyrightedreject = yes

Yes


KDDI Technology as Inspection Pre-Filter

UGC Viewing Portal


Reject?No

Con

tent

Iden

tifie

dre

ject

= y

es

UGC Upload Portal

.mov.mwv

H.264 Etc.

Uncompress

Database

Fingerprint CheckWatermark Check Content NotIdentified Visually

Inspect


YesAmateur

reject = NO

KDDI ContentClassification

• Significant reduction in volume of content that must be Fingerprint and/or Watermark and/or Visually Inspected• Might result in cost reduction for UGC site)

Professional


KDDI Technology as Inspection Post Filter

UGC Viewing Portal


Reject?No

Content

Identified

reject = yes

UGC Upload Portal

.mov.mwv

H.264 Etc.

Uncompress

DatabaseContent N

ot

Identified

VisuallyInspect


Yes

Amat

eur

reje

ct =

NO

KDDI ContentClassification

• Significant reduction in volume of content that must be Visually Inspected• Catch cases where copyrighted content was not identified by Fingerprinting / Watermarking (fresh content, long-tail content)

Fingerprint CheckWatermark Check

Professional


• As primary inspection filter/engine for sites currently relying exclusively on visual inspection

• Pseudo-fingerprinting: for non-fingerprinted content determined to be professional, capture and store parameters for identification in the future of upload of the same content

• Offer a minimal acceptable quality level for uploaded material

• Use KDDI Technology to identify professional content for the purpose of UGC ad insertion

Other Use Cases


• Engineers who know video (270 engineers in R&D activities)

• Further development and support of existing technologies

• Ongoing development of innovative video technologies

• Established company since 1953

What Does KDDI Bring to the Table


• Anti-piracy• Automated quality verification• MPEG2-H.264 trans-coder• H.264 encoder• 4K H.264 encoder• H.264 watermarking• Interactive TV applications

KDDI Portfolio


General• Find innovative technologies, evolve them

for market readiness, and apply them to industries where they add value

• Act on behalf of these technologies, that otherwise would not make it to particular markets

KDDI Labs• Establish collective ongoing portfolio of

innovative KDDI technologies, focused on the US entertainment industry

• Establish Sentosa as a market enabler for these innovative technologies

Sentosa’s Goals


• Help us understand the dynamics and industry forces in the UGC space

• Ideas on developing the right business model for Sentosa

• Help Senotsa establish the right relationships

• Is any sort of ongoing cooperative model between Sentosa and MovieLabs a possibility

Collaboration with MovieLabs


Background


By BRIAN STELTERPublished: August 15, 2008 After years of regarding pirated video on YouTube as a threat, some major media companies are having a change of heart, treating it instead as an advertising opportunity.

RelatedTimes Topics: YouTube In the last few months, CBS, Universal Music, Lionsgate, Electronic Arts and other companies have stopped prodding YouTube to remove unauthorized clips of their movies, music videos and

other content and started selling advertising against them. CBS may be the most surprising new business partner in that its sister company, Viacom, is still pursuing its acrimonious billion-dollar copyright lawsuit against YouTube’s owner, Google.So far, the money is minimal — ads appear on only a fraction of YouTube’s millions of videos — but the move suggests a possible thaw in the chilly standoff between the online video giant and

media companies. Getting into the good graces of media entities is seen as critical to the future of YouTube, which has struggled to show appreciable revenue for video ads. “We don’t want to condone people taking our intellectual property and using it without our permission,” said Curt Marvis, the president of digital media at Lionsgate Entertainment, which owns

films like “Dirty Dancing” and the “Saw” series of horror movies. “But we also don’t like the idea of keeping fans of our products from being able to engage with our content.” he said. “For the most part, people who are uploading videos are fans of our movies.

They’re not trying to be evil pirates, and they’re not trying to get revenue from it.” Indeed, the YouTube users who post the content without permission will not share in the advertising revenue generated by their posts. Instead, it is split between the media companies and

YouTube. The infringing user receives an e-mail message with an ominous red banner saying “a YouTube partner made a copyright claim on one of your videos.” The e-mail message explains that the

media company has “authorized the use of this content” and that viewers may see advertising on the video.For example, a user-uploaded video for the music video for “Disturbia” by the artist Rihanna is still online, even though YouTube makes it easy to remove. The Rihanna video page was uploaded

by a fan three weeks ago and has attracted 1.2 million views. It now features a prominent ad and a small disclaimer that cites the Universal Music Group as the owner. Under pressure from media companies, YouTube introduced a technology last fall called Video ID which allowed copyright owners to compare the digital fingerprints of their videos with material

on YouTube, then flag infringing material for removal. It was widely expected, given the acrimony between the parties, that media companies would simply demand their material be taken down. But the technology offered an alternative, allowing the

companies to “claim” the videos and start showing ads alongside them, creating a new revenue stream for both YouTube and the content owners.YouTube executives say they have been surprised by the interest in the advertising option. David King, a product manager at YouTube, said in an interview that 90 percent of the copyright claims

made using the identification tool remain on the site and are converted to advertising inventory. The other 10 percent are either removed from the site or tracked by the content owner. “A year ago, I don’t think I would have dared guess that” so many videos would be converted, Mr. King said. “They want to leave it up and make money on it.”YouTube is trying to sell other media companies on the model, but the conglomerates are apparently taking a wait-and-see approach. Time Warner and the News Corporation acknowledge testing

the platform, but there is no evidence they are putting ads on user content. Companies like NBC Universal and the Walt Disney Company prefer to steer users toward their own video sites. Viacom appreciates the technology but is not softening its legal hard line. Last fall, Viacom said it was pleased that YouTube appeared to be “stepping up to its responsibility and ending the

practice of profiting from copyright infringement,” but it emphasized that the $1 billion lawsuit addressed past infringement of content. The lawsuit is in the discovery phase, with another hearing set for September. A Viacom spokesman said Friday that the company had not taken a position on Video ID.

YouTube says 13 hours of video are uploaded to the site every minute. Many of the videos that users do not have the rights to — television scenes, music clips and, this month, Olympic highlights — are filtered before they ever appear. When infringing videos do make it online, they can be tracked using Video ID.

Electronic Arts, the video game publisher, has taken Video ID a step further, using it to encourage user submissions. In a promotion for the coming video game Spore, E.A. encouraged gamers to upload original Spore creatures they created using a software program. There were more than 100,000 submissions, and some attracted hundreds of thousands of views. E.A. used Video ID to claim the most popular user videos and share in the ad revenue on them.

In July, Lionsgate became the first movie studio to work with YouTube. “The technology is quite sophisticated and it is working well,” Mr. Marvis said. On Google’s earnings call last month, the company’s chief executive, Eric E. Schmidt, praised the movie studio’s strategy. “Lionsgate has the good judgment to say, rather than go and sue those

customers, instead, let’s go capture that, show an ad against them and get them even more excited about our content,” Mr. Schmidt said.Google needs other companies to follow. The company is wary of putting ads alongside videos unless the content owners have given approval. YouTube said the claiming process had more than

doubled the number of videos that its 300 Video ID partners can monetize, but the total number was still small. At a conference last month, the Web site Silicon Alley Insider reported that Brian Cusack, the YouTube sales manager, said ads appeared on less than 3 percent of video pages. A YouTube spokesman would not confirm that.

Google has pushed the video site to innovate in the ad arena. Mr. Schmidt said last month: “I personally do not believe that the perfect ad product for YouTube has been invented yet.”

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