From OPIMA to MPEG IPMP-X: A standard's history across R&D projects

This paper describes the work performed by a number of companies and universities who have been working as a consortium under the umbrella of the European Union Framework Programme 5 (FP5), Information Society Technologies (IST) research program, in order to provide a set of Digital Rights Management (DRM) technologies and architectures, aiming at helping to reduce the copyright circumvention risks, that have been threatening the music and film industries in their transition from the “analogue” to “digital” age. The paper starts by addressing some of the earlier standardization efforts in the DRM arena, namely, Open Platform Initiative for Multimedia Access (OPIMA). One of the described FP5 IST projects, Open Components for Controlled Access to Multimedia Material (OCCAMM), has developed the OPIMA vision. The paper addresses also the Motion Pictures Expert Group—MPEG DRM work, starting from the MPEG Intellectual Propriety Management and Protection—IPMP “Hooks”, towards the MPEG IPMP Extensions, which has originated the first DRM-related standard (MPEG-4 Part 13, called IPMP Extensions or IPMP-X) ever released by ISO up to the present days.2 The paper clarifies how the FP5 IST project MPEG Open Security for Embedded Systems (MOSES), has extended the OPIMA interfaces and architecture to achieve compliance with the MPEG IPMP-X standard, and how it has contributed to the achievement of “consensus” and to the specification, implementation (Reference Software) and validation (Conformance Testing) of the MPEG IPMP-X standard.info:eu-repo/semantics/acceptedVersio

Digital Rights Management and Consumer Acceptability: A Multi-Disciplinary Discussion of Consumer Concerns and Expectations

The INDICARE project – the Informed Dialogue about Consumer Acceptability of DRM Solutions in Europe – has been set up to raise awareness about consumer and user issues of Digital Rights Management (DRM) solutions. One of the main goals of the INDICARE project is to contribute to the consensus-building among multiple players with heterogeneous interests in the digital environment. To promote this process and to contribute to the creation of a common level of understanding is the aim of the present report. It provides an overview of consumer concerns and expectations regarding DRMs, and discusses the findings from a social, legal, technical and business perspective. A general overview of the existing EC initiatives shows that questions of consumer acceptability of DRM have only recently begun to draw wider attention. A review of the relevant statements, studies and reports confirms that awareness of consumer concerns is still at a low level. Five major categories of concerns have been distinguished so far: (1) fair conditions of use and access to digital content, (2) privacy, (3) interoperability, (4) transparency and (5) various aspects of consumer friendliness. From the legal point of view, many of the identified issues go beyond the scope of copyright law, i.e. the field of law where DRM was traditionally discussed. Often they are a matter of general or sector-specific consumer protection law. Furthermore, it is still unclear to what extent technology and an appropriate design of technical solutions can provide an answer to some of the concerns of consumers. One goal of the technical chapter was exactly to highlight some of these technical possibilities. Finally, it is shown that consumer acceptability of DRM is important for the economic success of different business models based on DRM. Fair and responsive DRM design can be a profitable strategy, however DRM-free alternatives do exist too.Digital Rights Management; consumers; Intellectual property; business models

Music-4you.com - digital music e-commerce case study

During the past couple of years a new business has arise on the Internet – digital music e-commerce. Web-sites such as Apple iTunes, Real Rhapsody and most recently the renewed version of Napster with Microsoft support have attracted a lot of attention to this new business. This paper introduces and describes an example of a digital music e-commerce web-site – Music-4You.com – developed in the framework of a European project called MOSES. However, Music-4you isn’t just another digital music e-commerce site. It introduces some new concepts in the electronic trading of digital music, such as the negotiation of rights licensing conditions, the usage of new media formats and the possibility of music providers add their own music to the web-site and to define their own business models and rights management.info:eu-repo/semantics/acceptedVersio