Forum - View topicChicks On Anime - Copyright Enforcement
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Tofusensei
Posts: 365 |
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Excellent point, Zac. I was just referring to the technical aspects of production. |
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HyugaHinata
 Posts: 3505 |
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If it's available online, it's available to the US, and Funimation shouldn't hesitate to shut them down. Even if it's in a foreign language, so what? It's not like the US mandates a monolingual education policy nationwide. Fans can help by contacting the ISPs. 
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Tofusensei
Posts: 365 |
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You'd make a good speedsubber
The purpose of professional subtitles is to be superior to the fansubs. When they stop being better, people have a new excuse to watch and create fansubs and more pirate copies. There's no excuse for not doing the extra steps. Especially when it takes less than 15 minutes per episode. |
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LordRedhand
 Posts: 1472 Location: Middle of Nowhere, Indiana |
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Yeah which is why my model has checks and approval in it so it's not 100% efficient either just more efficient than others.
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Tofusensei
Posts: 365 |
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I'm not gonna post in this thread for a bit cause I think we've dominated the discussion.
But for the record, you don't need to lecture me on how to subtitle ^^; |
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Vekou
 Posts: 329 |
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Am I understanding this correctly? It sounds like he is saying that they will go after any fansubber in any country because there's a possibility that an American could download their subs (even if they're not in English)? And then he's suggesting that, to avoid this situation, foreign ISPs should just block U.S. access to these sites? Yikes. On a separate note, the fansub-bashing part of this discussion is unnecessary, insulting, and based on stereotypes. If I based my opinion on anime dubs in general on One Piece and DBZ, would that be fair? I also reject the idea that translator's notes are a bad thing. "I don't want to learn anything, I just want to watch this damn show" is a laughably stupid attitude to have and should not be forced on everyone else. Excessive translator's notes should not be used as a means to push through a lazy translation, but there are many cases where they are necessary in order to fully understand what you're viewing. |
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LordRedhand
Posts: 1472 Location: Middle of Nowhere, Indiana |
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I'm following the theory of "If the Japanese audience doesn't have it explained I don't have to need it either" Mainly because there are things that the director intends for you to find out, and having a pop-up note explaining all of it up-front is kind of a mood killer in terms of what you should be seeing. That said I have nothing against them in particular but it should be an extra that the viewer chooses and not the primary viewing experience, seeings how we don't want to add confusion with legitimate streams it would be better now to focus on getting them out as quickly and professionally as possible to beat those who are taking their market away, primarily the speed subbers because of all the variations of fansubber they release first and are the ones they have to beat first. And we get notes either as an extra or a booklet on the official, physical release so for me it's going where it should be, as an extra for those who are interested. But if you feel especially diligent things like the internet and the library exist for a reason, to find information that you are interested in, so if something is that gripping to you that you need to know, you can find it.
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cyberbeing
Posts: 135 |
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It must have something to do with where you are downloading from or when. I just checked out Phantom episode 1 on Funimation's site and the whole thing downloading in less than 3.5 minutes bumping against their 1MB/s max speed limit the entire time (obviously 1:30am isn't exactly peak time). This tells me the Funimation streaming server can be fast, but if you are really getting only 20KB/s when episodes are first released, that is something I'm sure is in Funmation's best interest to solve. If you are getting such slow speeds at all times, it's understandable why you wouldn't want to wait 3 hours to watch a 23 minute episode. |
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Megiddo
 Posts: 8360 Location: IL |
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Ya know, I really don't have a problem with fansubs. I download fansubs, so to do so would be a complete hypocrite. However, I've always thought that fansubs were for unlicensed series. The whole idea being the ability to propogate something that is not readily available or soon to be available to the viewer otherwise.
Now though, it seems an R1 company goes the absolute extra mile by providing free and legal streams to shows shortly after they air in Japan (or in the case of Phantom, even before it is aired), and fansubs still persist. I just can't fathom how, just because a show isn't 720p or whatever, it can't be enjoyed. I've been watching anime a long long time. Those VHS tapes I watched weren't 720p. Nor were the shows I watched merely a few years ago. I really do thank FUNimation and others involved in trying to (legally) shorten the wait of a show being available here in the States. To those of other countries, I am not including you in this. I know region-lock is a pain. I'm talking about people who can access FUNimation's video portal. As for the buffering thing... is it really that hard? I ask this because a 1 or 2 hour wait for a show to fully be viewable isn't much at all for me. Back before torrents when I used good ol' Direct Connect, it would take sometimes days just to track down an episode. I mean, tabbed browsing is there, so just keep it buffering in a tab and go surf the net or read a manga or go outside for a few hours and come back and watch. It really isn't hard. |
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Hon'ya-chan
 Posts: 973 |
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What I wanna know is how do you report such copyright violations in the first place? There's a site on the internet that is using a cosplay of a well known FUNi property in... "Adult Situations" in a for-profit venture. I tried to report it to FUNimation, yet I found not even a Customer Service e-mail link to use.
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muppsatan
 Posts: 27 |
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Wouldn't the best thing for the anime industry be to actually cut out the middle man such as Funimation, and handle subbing and internet online distribution themselves. Leaving just the physical distribution and dubbing for overseas companies or even subsidiaries of their parent companies?
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nadir-seen-fire
 Posts: 90 |
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Side-note on the "downloadable" track. Some people in the past have noted points on downloading:
* Ability to play in other video players * Slow connection users can let it download in the background then play it full speed later ** Bandwidth costs in some countries * The ability to play the shows back offline The first point really isn't something that can be worked around. If you give a plain video file someone is going to redistribute it and things go downhill from there. And last time I checked there were various issues with DMR locked media. But I did at one point note to Crunchyroll a bit of an idea that actually solves most of the problems. An Adobe AIR based video player. Basically the idea is an app residing on your desktop (Adobe AIR is based on the whole web environment, so this just means you can translate most of the existing software you're using without redeveloping to much). Because it sits on the desktop rather than always sitting on the website there are some advantages to it (besides not having to refresh pages and getting everything in a nice video channel like format  )
The desktop player has the advantage that it can now actually store the video data on the computer, rather than re-streaming things every time you watch something. Someone can que-up a number of episodes from various series. And in the background the app will preload the episodes with the normal buffering but saving it to a permanent location on the disk instead of temporarily sitting in memory. This now means that: * It's on the disk, so no-one needs to worry about extra bandwidth being consumed to watch the video * Slow connection users can just leave the player on in the background minimized (just like a torrent app, one of the reason why I like torrents as opposed to direct downloads, I can que them in back, do my daily stuff, and by the time I want to touch the stuff It's downloaded itself), and since it's already on their computer later they can play the video. ** It honestly shouldn't have any real speed difference in comparison to downloading a video file and playing it. Though converse fact, the fact this uses the normal buffering techniques means that if you suddenly get impatient you can start watching without waiting which isn't always a possibility with normal downloads. * Preloaded videos can be played back later while offline. Great for those of us Laptop users. Stick the player in the background, que some episodes, do our daily work, watch some anime offline on the train home. If you will, consider it a web streaming version of the DVR for cable. The actual video player note is actually a little frivolous. All that needs to be done is take good input on what would actually make a good video player. The fact that the video player and the people making the videos are tied together just means that the worry about "I need this player because it handles soft-subtitles better than this other player" isn't an issue. |
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bayoab
Posts: 831 |
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Only one Japanese company makes their own subtitles, Kadokawa, which have editing issues. Clearly, the Japanese realize that they should not be working on a language they don't know. As far as the "middle man", there isn't really a middle man in online distribution. The deals are directly with the video portals (CR, Joost, etc) or using things like youtube directly. |
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ConanSan
Posts: 1818 |
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I'll reiterate.
As long as there's a legal alterntive that I can access, then they can do as they wish. YES - FMA Brotherhood, it's available on Funi's Video chanel to me (in the UK), hence it's acceptiable to snap at people's heels for fansubbing it. NO - Dragonball Kai (And, they've been doing that), No Funi-Vid, highly doubt any license will be good for the UK because AB Are a bunch of arsehats hence NOT ACCEPTIABLE. Maybe - Funi, Licence Basquash and I'll ignore DBK and you can give every voice casting part for everything but Seto No Hanayome to Vic. |
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petran79
 Posts: 122 |
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Interestingly I read that in South Korea practically there are no Computer Game Shops since everything is pirated. And in case you are arrested for piracy.......(let the witch hunt begin.....)
"With rare exceptions, the people procuring, producing, and distributing this pirated material are affiliated with large and dangerous international criminal syndicates." Film piracy is not being operated by "mom-and-pop operations." "It is being done," he stated, "by business-minded thugs who fund this activity through money raised from other illicit activity such as drug dealing, gun running, and human trafficking (utilizing the same distribution networks), and who, in tum, fund these other activities through the money they raise through piracy." Consequently, the odds are high that every dollar, pound, peso, euro or rupee spent on them is put into the pockets of bad people who will spend it in a way which is not consonant with our safety and security." Most alarmingly, these groups "have no qualms whatsoever about resorting to violence or bribery to conduct their operations, and they play for keeps," John Malcolm, Senior V'P and Director of Worldwide Anti-Piracy Operations for the MPA and MPAA also an irony this occured 130 years ago: Early in his writing career, Twain was happy just to get books published and earn a little money from them. The existing system worked. But as he gained in popularity and an appreciation for the finer things of life, he became a more vocal proponent of expanding copyright laws. In 1875, Twain began writing articles in favor of international copyright for the Atlantic Monthly and gathering other authors to his side. He became a lifelong proponent of extending the length of copyright protection. However, when the Eastern establishment’s courtesy system collapsed and book prices fell through the floor, Twain took a hiatus from his position. In 1880, in a letter to William Dean Howells, his editor at the Atlantic Monthly magazine, Twain pointed out how cheaply he himself could now buy books: Chambers Cyclopedia, in 15 cloth-bound volumes, now cost $7.25, works for which he had previously paid $60. He saw value for the public in the availability of cheap, pirated books: I can buy a lot of the great copyright classics, in paper, at 3 cents to 30 cents apiece. These things must find their way into the very kitchens and hovels of the country. A generation of this sort of thing ought to make this the most intelligent and most best read nation in the world. He closed his letter saying he had decided he was now against any international copyright treaty. Morally this is all wrong—governmentally it is all right; for it is the duty of governments—and families—to be selfish and look out simply for their own. International copyright would benefit a few authors, and a lot of American publishers, and be a profound detriment to 20,000,000 Americans; it would benefit a dozen American authors a few dollars a year, & there an end. But Twain’s 20,000,000 Americans let him down. Instead of buying the classics, the public bought what Twain thought were cheap and tawdry novels, most of which glorified the English way of life. They fill the imagination with an unhealthy fascination with foreign life, with its dukes and earls and kings, its fuss and feathers, its graceful immoralities, its sugar-coated injustices and oppressions.10 Twain soon realized those English potboilers competed with his books as well, and by 1886 he had reversed his position again. He was quite happy when an international copyright law was finally put into effect in 1891. From then on he remained a copyright advocate, chiefly in attempts to make the protection period longer. Mark Twain was representative of another dilemma caused by copyright. Many of his stories and books borrowed from the oral tradition of slaves and other countrymen. In 1874, he published a story inAtlantic Monthly called “A True Story, Repeated Word for Word as I Heard It.” It was the account of Mary Ann Cord, the cook at his family’s Quarry Farm, and a former slave. Twain’s rendering of dialect in this story became his hallmark, and the gene-sis of his later work, The Adventures of Huckleberry Finn When Cord’s tale was published in the Atlantic Monthly, it was already copyrighted in Mark Twain’s name. But whose work was it, Twain’s or Cord’s? It was her story, in her own words. He had simply written it down. According to copyright law at the time, it was Twain’s. Since the Statute of Anne, copyright was always deemed to protect the expression of ideas, not the ideas themselves. This tenet would later be challenged by new forms of media, especially movies, but it totally held sway at the time. To reward his accurate transcription, Twain was paid the highest amount the magazine had ever paid an author for a story. It’s unknown if he gave any of his earnings from the story to Cord. |
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